Add train files

.gitattributes

@@ -1,55 +1,55 @@
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-*.jpg filter=lfs diff=lfs merge=lfs -text
-*.jpeg filter=lfs diff=lfs merge=lfs -text
-*.webp filter=lfs diff=lfs merge=lfs -text
+*.7z filter=lfs diff=lfs merge=lfs -text
+*.arrow filter=lfs diff=lfs merge=lfs -text
+*.bin filter=lfs diff=lfs merge=lfs -text
+*.bz2 filter=lfs diff=lfs merge=lfs -text
+*.ckpt filter=lfs diff=lfs merge=lfs -text
+*.ftz filter=lfs diff=lfs merge=lfs -text
+*.gz filter=lfs diff=lfs merge=lfs -text
+*.h5 filter=lfs diff=lfs merge=lfs -text
+*.joblib filter=lfs diff=lfs merge=lfs -text
+*.lfs.* filter=lfs diff=lfs merge=lfs -text
+*.lz4 filter=lfs diff=lfs merge=lfs -text
+*.mlmodel filter=lfs diff=lfs merge=lfs -text
+*.model filter=lfs diff=lfs merge=lfs -text
+*.msgpack filter=lfs diff=lfs merge=lfs -text
+*.npy filter=lfs diff=lfs merge=lfs -text
+*.npz filter=lfs diff=lfs merge=lfs -text
+*.onnx filter=lfs diff=lfs merge=lfs -text
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+*.parquet filter=lfs diff=lfs merge=lfs -text
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+*.pickle filter=lfs diff=lfs merge=lfs -text
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+*.pt filter=lfs diff=lfs merge=lfs -text
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+*.rar filter=lfs diff=lfs merge=lfs -text
+*.safetensors filter=lfs diff=lfs merge=lfs -text
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+*.tar.* filter=lfs diff=lfs merge=lfs -text
+*.tar filter=lfs diff=lfs merge=lfs -text
+*.tflite filter=lfs diff=lfs merge=lfs -text
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+*.zip filter=lfs diff=lfs merge=lfs -text
+*.zst filter=lfs diff=lfs merge=lfs -text
+*tfevents* filter=lfs diff=lfs merge=lfs -text
+# Audio files - uncompressed
+*.pcm filter=lfs diff=lfs merge=lfs -text
+*.sam filter=lfs diff=lfs merge=lfs -text
+*.raw filter=lfs diff=lfs merge=lfs -text
+# Audio files - compressed
+*.aac filter=lfs diff=lfs merge=lfs -text
+*.flac filter=lfs diff=lfs merge=lfs -text
+*.mp3 filter=lfs diff=lfs merge=lfs -text
+*.ogg filter=lfs diff=lfs merge=lfs -text
+*.wav filter=lfs diff=lfs merge=lfs -text
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+*.bmp filter=lfs diff=lfs merge=lfs -text
+*.gif filter=lfs diff=lfs merge=lfs -text
+*.png filter=lfs diff=lfs merge=lfs -text
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+*.jpg filter=lfs diff=lfs merge=lfs -text
+*.jpeg filter=lfs diff=lfs merge=lfs -text
+*.webp filter=lfs diff=lfs merge=lfs -text

README.md

@@ -1,211 +1,211 @@
----
-annotations_creators:
-- expert-generated
-language_creators:
-- expert-generated
-language:
-- en
-license:
-- apache-2.0
-multilinguality:
-- monolingual
-size_categories:
-- 10K<n<100K
-source_datasets:
-- original
-task_categories:
-- text-generation
-task_ids:
-- language-modeling
-paperswithcode_id: pg-19
-pretty_name: PG-19
-dataset_info:
-  features:
-  - name: short_book_title
-    dtype: string
-  - name: publication_date
-    dtype: int32
-  - name: url
-    dtype: string
-  - name: text
-    dtype: string
-  splits:
-  - name: train
-    num_bytes: 11453688452
-    num_examples: 28602
-  - name: validation
-    num_bytes: 17402295
-    num_examples: 50
-  - name: test
-    num_bytes: 40482852
-    num_examples: 100
-  download_size: 11740397875
-  dataset_size: 11511573599
----
-
-# Dataset Card for "pg19"
-
-## Table of Contents
-- [Dataset Description](#dataset-description)
-  - [Dataset Summary](#dataset-summary)
-  - [Supported Tasks and Leaderboards](#supported-tasks-and-leaderboards)
-  - [Languages](#languages)
-- [Dataset Structure](#dataset-structure)
-  - [Data Instances](#data-instances)
-  - [Data Fields](#data-fields)
-  - [Data Splits](#data-splits)
-- [Dataset Creation](#dataset-creation)
-  - [Curation Rationale](#curation-rationale)
-  - [Source Data](#source-data)
-  - [Annotations](#annotations)
-  - [Personal and Sensitive Information](#personal-and-sensitive-information)
-- [Considerations for Using the Data](#considerations-for-using-the-data)
-  - [Social Impact of Dataset](#social-impact-of-dataset)
-  - [Discussion of Biases](#discussion-of-biases)
-  - [Other Known Limitations](#other-known-limitations)
-- [Additional Information](#additional-information)
-  - [Dataset Curators](#dataset-curators)
-  - [Licensing Information](#licensing-information)
-  - [Citation Information](#citation-information)
-  - [Contributions](#contributions)
-
-## Dataset Description
-
-- **Homepage:** [https://github.com/deepmind/pg19](https://github.com/deepmind/pg19)
-- **Repository:** [More Information Needed](https://github.com/huggingface/datasets/blob/master/CONTRIBUTING.md#how-to-contribute-to-the-dataset-cards)
-- **Paper:** [Compressive Transformers for Long-Range Sequence Modelling](https://arxiv.org/abs/1911.05507)
-- **Point of Contact:** [More Information Needed](https://github.com/huggingface/datasets/blob/master/CONTRIBUTING.md#how-to-contribute-to-the-dataset-cards)
-- **Size of downloaded dataset files:** 11.74 GB
-- **Size of the generated dataset:** 11.51 GB
-- **Total amount of disk used:** 23.25 GB
-
-### Dataset Summary
-
-This repository contains the PG-19 language modeling benchmark.
-It includes a set of books extracted from the Project Gutenberg books library, that were published before 1919.
-It also contains metadata of book titles and publication dates.
-
-PG-19 is over double the size of the Billion Word benchmark and contains documents that are 20X longer, on average, than the WikiText long-range language modelling benchmark.
-Books are partitioned into a train, validation, and test set. Book metadata is stored in metadata.csv which contains (book_id, short_book_title, publication_date).
-
-Unlike prior benchmarks, we do not constrain the vocabulary size --- i.e. mapping rare words to an UNK token --- but instead release the data as an open-vocabulary benchmark. The only processing of the text that has been applied is the removal of boilerplate license text, and the mapping of offensive discriminatory words as specified by Ofcom to placeholder tokens. Users are free to model the data at the character-level, subword-level, or via any mechanism that can model an arbitrary string of text.
-To compare models we propose to continue measuring the word-level perplexity, by calculating the total likelihood of the dataset (via any chosen subword vocabulary or character-based scheme) divided by the number of tokens --- specified below in the dataset statistics table.
-One could use this dataset for benchmarking long-range language models, or use it to pre-train for other natural language processing tasks which require long-range reasoning, such as LAMBADA or NarrativeQA. We would not recommend using this dataset to train a general-purpose language model, e.g. for applications to a production-system dialogue agent, due to the dated linguistic style of old texts and the inherent biases present in historical writing.
-
-### Supported Tasks and Leaderboards
-
-[More Information Needed](https://github.com/huggingface/datasets/blob/master/CONTRIBUTING.md#how-to-contribute-to-the-dataset-cards)
-
-### Languages
-
-[More Information Needed](https://github.com/huggingface/datasets/blob/master/CONTRIBUTING.md#how-to-contribute-to-the-dataset-cards)
-
-## Dataset Structure
-
-### Data Instances
-
-#### default
-
-- **Size of downloaded dataset files:** 11.74 GB
-- **Size of the generated dataset:** 11.51 GB
-- **Total amount of disk used:** 23.25 GB
-
-An example of 'train' looks as follows.
-```
-This example was too long and was cropped:
-
-{
-    "publication_date": 1907,
-    "short_book_title": "La Fiammetta by Giovanni Boccaccio",
-    "text": "\"\\n\\n\\n\\nProduced by Ted Garvin, Dave Morgan and PG Distributed Proofreaders\\n\\n\\n\\n\\nLA FIAMMETTA\\n\\nBY\\n\\nGIOVANNI BOCCACCIO\\n...",
-    "url": "http://www.gutenberg.org/ebooks/10006"
-}
-```
-
-### Data Fields
-
-The data fields are the same among all splits.
-
-#### default
-- `short_book_title`: a `string` feature.
-- `publication_date`: a `int32` feature.
-- `url`: a `string` feature.
-- `text`: a `string` feature.
-
-### Data Splits
-
-| name  |train|validation|test|
-|-------|----:|---------:|---:|
-|default|28602|        50| 100|
-
-## Dataset Creation
-
-### Curation Rationale
-
-[More Information Needed](https://github.com/huggingface/datasets/blob/master/CONTRIBUTING.md#how-to-contribute-to-the-dataset-cards)
-
-### Source Data
-
-#### Initial Data Collection and Normalization
-
-[More Information Needed](https://github.com/huggingface/datasets/blob/master/CONTRIBUTING.md#how-to-contribute-to-the-dataset-cards)
-
-#### Who are the source language producers?
-
-[More Information Needed](https://github.com/huggingface/datasets/blob/master/CONTRIBUTING.md#how-to-contribute-to-the-dataset-cards)
-
-### Annotations
-
-#### Annotation process
-
-[More Information Needed](https://github.com/huggingface/datasets/blob/master/CONTRIBUTING.md#how-to-contribute-to-the-dataset-cards)
-
-#### Who are the annotators?
-
-[More Information Needed](https://github.com/huggingface/datasets/blob/master/CONTRIBUTING.md#how-to-contribute-to-the-dataset-cards)
-
-### Personal and Sensitive Information
-
-[More Information Needed](https://github.com/huggingface/datasets/blob/master/CONTRIBUTING.md#how-to-contribute-to-the-dataset-cards)
-
-## Considerations for Using the Data
-
-### Social Impact of Dataset
-
-[More Information Needed](https://github.com/huggingface/datasets/blob/master/CONTRIBUTING.md#how-to-contribute-to-the-dataset-cards)
-
-### Discussion of Biases
-
-[More Information Needed](https://github.com/huggingface/datasets/blob/master/CONTRIBUTING.md#how-to-contribute-to-the-dataset-cards)
-
-### Other Known Limitations
-
-[More Information Needed](https://github.com/huggingface/datasets/blob/master/CONTRIBUTING.md#how-to-contribute-to-the-dataset-cards)
-
-## Additional Information
-
-### Dataset Curators
-
-[More Information Needed](https://github.com/huggingface/datasets/blob/master/CONTRIBUTING.md#how-to-contribute-to-the-dataset-cards)
-
-### Licensing Information
-
-The dataset is licensed under [Apache License, Version 2.0](https://www.apache.org/licenses/LICENSE-2.0.html).
-
-### Citation Information
-
-```
-@article{raecompressive2019,
-  author = {Rae, Jack W and Potapenko, Anna and Jayakumar, Siddhant M and
-            Hillier, Chloe and Lillicrap, Timothy P},
-  title = {Compressive Transformers for Long-Range Sequence Modelling},
-  journal = {arXiv preprint},
-  url = {https://arxiv.org/abs/1911.05507},
-  year = {2019},
-}
-```
-
-
-### Contributions
-
+---
+annotations_creators:
+- expert-generated
+language_creators:
+- expert-generated
+language:
+- en
+license:
+- apache-2.0
+multilinguality:
+- monolingual
+size_categories:
+- 10K<n<100K
+source_datasets:
+- original
+task_categories:
+- text-generation
+task_ids:
+- language-modeling
+paperswithcode_id: pg-19
+pretty_name: PG-19
+dataset_info:
+  features:
+  - name: short_book_title
+    dtype: string
+  - name: publication_date
+    dtype: int32
+  - name: url
+    dtype: string
+  - name: text
+    dtype: string
+  splits:
+  - name: train
+    num_bytes: 11453688452
+    num_examples: 28602
+  - name: validation
+    num_bytes: 17402295
+    num_examples: 50
+  - name: test
+    num_bytes: 40482852
+    num_examples: 100
+  download_size: 11740397875
+  dataset_size: 11511573599
+---
+
+# Dataset Card for "pg19"
+
+## Table of Contents
+- [Dataset Description](#dataset-description)
+  - [Dataset Summary](#dataset-summary)
+  - [Supported Tasks and Leaderboards](#supported-tasks-and-leaderboards)
+  - [Languages](#languages)
+- [Dataset Structure](#dataset-structure)
+  - [Data Instances](#data-instances)
+  - [Data Fields](#data-fields)
+  - [Data Splits](#data-splits)
+- [Dataset Creation](#dataset-creation)
+  - [Curation Rationale](#curation-rationale)
+  - [Source Data](#source-data)
+  - [Annotations](#annotations)
+  - [Personal and Sensitive Information](#personal-and-sensitive-information)
+- [Considerations for Using the Data](#considerations-for-using-the-data)
+  - [Social Impact of Dataset](#social-impact-of-dataset)
+  - [Discussion of Biases](#discussion-of-biases)
+  - [Other Known Limitations](#other-known-limitations)
+- [Additional Information](#additional-information)
+  - [Dataset Curators](#dataset-curators)
+  - [Licensing Information](#licensing-information)
+  - [Citation Information](#citation-information)
+  - [Contributions](#contributions)
+
+## Dataset Description
+
+- **Homepage:** [https://github.com/deepmind/pg19](https://github.com/deepmind/pg19)
+- **Repository:** [More Information Needed](https://github.com/huggingface/datasets/blob/master/CONTRIBUTING.md#how-to-contribute-to-the-dataset-cards)
+- **Paper:** [Compressive Transformers for Long-Range Sequence Modelling](https://arxiv.org/abs/1911.05507)
+- **Point of Contact:** [More Information Needed](https://github.com/huggingface/datasets/blob/master/CONTRIBUTING.md#how-to-contribute-to-the-dataset-cards)
+- **Size of downloaded dataset files:** 11.74 GB
+- **Size of the generated dataset:** 11.51 GB
+- **Total amount of disk used:** 23.25 GB
+
+### Dataset Summary
+
+This repository contains the PG-19 language modeling benchmark.
+It includes a set of books extracted from the Project Gutenberg books library, that were published before 1919.
+It also contains metadata of book titles and publication dates.
+
+PG-19 is over double the size of the Billion Word benchmark and contains documents that are 20X longer, on average, than the WikiText long-range language modelling benchmark.
+Books are partitioned into a train, validation, and test set. Book metadata is stored in metadata.csv which contains (book_id, short_book_title, publication_date).
+
+Unlike prior benchmarks, we do not constrain the vocabulary size --- i.e. mapping rare words to an UNK token --- but instead release the data as an open-vocabulary benchmark. The only processing of the text that has been applied is the removal of boilerplate license text, and the mapping of offensive discriminatory words as specified by Ofcom to placeholder tokens. Users are free to model the data at the character-level, subword-level, or via any mechanism that can model an arbitrary string of text.
+To compare models we propose to continue measuring the word-level perplexity, by calculating the total likelihood of the dataset (via any chosen subword vocabulary or character-based scheme) divided by the number of tokens --- specified below in the dataset statistics table.
+One could use this dataset for benchmarking long-range language models, or use it to pre-train for other natural language processing tasks which require long-range reasoning, such as LAMBADA or NarrativeQA. We would not recommend using this dataset to train a general-purpose language model, e.g. for applications to a production-system dialogue agent, due to the dated linguistic style of old texts and the inherent biases present in historical writing.
+
+### Supported Tasks and Leaderboards
+
+[More Information Needed](https://github.com/huggingface/datasets/blob/master/CONTRIBUTING.md#how-to-contribute-to-the-dataset-cards)
+
+### Languages
+
+[More Information Needed](https://github.com/huggingface/datasets/blob/master/CONTRIBUTING.md#how-to-contribute-to-the-dataset-cards)
+
+## Dataset Structure
+
+### Data Instances
+
+#### default
+
+- **Size of downloaded dataset files:** 11.74 GB
+- **Size of the generated dataset:** 11.51 GB
+- **Total amount of disk used:** 23.25 GB
+
+An example of 'train' looks as follows.
+```
+This example was too long and was cropped:
+
+{
+    "publication_date": 1907,
+    "short_book_title": "La Fiammetta by Giovanni Boccaccio",
+    "text": "\"\\n\\n\\n\\nProduced by Ted Garvin, Dave Morgan and PG Distributed Proofreaders\\n\\n\\n\\n\\nLA FIAMMETTA\\n\\nBY\\n\\nGIOVANNI BOCCACCIO\\n...",
+    "url": "http://www.gutenberg.org/ebooks/10006"
+}
+```
+
+### Data Fields
+
+The data fields are the same among all splits.
+
+#### default
+- `short_book_title`: a `string` feature.
+- `publication_date`: a `int32` feature.
+- `url`: a `string` feature.
+- `text`: a `string` feature.
+
+### Data Splits
+
+| name  |train|validation|test|
+|-------|----:|---------:|---:|
+|default|28602|        50| 100|
+
+## Dataset Creation
+
+### Curation Rationale
+
+[More Information Needed](https://github.com/huggingface/datasets/blob/master/CONTRIBUTING.md#how-to-contribute-to-the-dataset-cards)
+
+### Source Data
+
+#### Initial Data Collection and Normalization
+
+[More Information Needed](https://github.com/huggingface/datasets/blob/master/CONTRIBUTING.md#how-to-contribute-to-the-dataset-cards)
+
+#### Who are the source language producers?
+
+[More Information Needed](https://github.com/huggingface/datasets/blob/master/CONTRIBUTING.md#how-to-contribute-to-the-dataset-cards)
+
+### Annotations
+
+#### Annotation process
+
+[More Information Needed](https://github.com/huggingface/datasets/blob/master/CONTRIBUTING.md#how-to-contribute-to-the-dataset-cards)
+
+#### Who are the annotators?
+
+[More Information Needed](https://github.com/huggingface/datasets/blob/master/CONTRIBUTING.md#how-to-contribute-to-the-dataset-cards)
+
+### Personal and Sensitive Information
+
+[More Information Needed](https://github.com/huggingface/datasets/blob/master/CONTRIBUTING.md#how-to-contribute-to-the-dataset-cards)
+
+## Considerations for Using the Data
+
+### Social Impact of Dataset
+
+[More Information Needed](https://github.com/huggingface/datasets/blob/master/CONTRIBUTING.md#how-to-contribute-to-the-dataset-cards)
+
+### Discussion of Biases
+
+[More Information Needed](https://github.com/huggingface/datasets/blob/master/CONTRIBUTING.md#how-to-contribute-to-the-dataset-cards)
+
+### Other Known Limitations
+
+[More Information Needed](https://github.com/huggingface/datasets/blob/master/CONTRIBUTING.md#how-to-contribute-to-the-dataset-cards)
+
+## Additional Information
+
+### Dataset Curators
+
+[More Information Needed](https://github.com/huggingface/datasets/blob/master/CONTRIBUTING.md#how-to-contribute-to-the-dataset-cards)
+
+### Licensing Information
+
+The dataset is licensed under [Apache License, Version 2.0](https://www.apache.org/licenses/LICENSE-2.0.html).
+
+### Citation Information
+
+```
+@article{raecompressive2019,
+  author = {Rae, Jack W and Potapenko, Anna and Jayakumar, Siddhant M and
+            Hillier, Chloe and Lillicrap, Timothy P},
+  title = {Compressive Transformers for Long-Range Sequence Modelling},
+  journal = {arXiv preprint},
+  url = {https://arxiv.org/abs/1911.05507},
+  year = {2019},
+}
+```
+
+
+### Contributions
+
 Thanks to [@thomwolf](https://github.com/thomwolf), [@lewtun](https://github.com/lewtun), [@lucidrains](https://github.com/lucidrains), [@lhoestq](https://github.com/lhoestq) for adding this dataset.

data/LICENSE

@@ -1,202 +1,202 @@
-
-                                 Apache License
-                           Version 2.0, January 2004
-                        http://www.apache.org/licenses/
-
-   TERMS AND CONDITIONS FOR USE, REPRODUCTION, AND DISTRIBUTION
-
-   1. Definitions.
-
-      "License" shall mean the terms and conditions for use, reproduction,
-      and distribution as defined by Sections 1 through 9 of this document.
-
-      "Licensor" shall mean the copyright owner or entity authorized by
-      the copyright owner that is granting the License.
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-      other entities that control, are controlled by, or are under common
-      control with that entity. For the purposes of this definition,
-      "control" means (i) the power, direct or indirect, to cause the
-      direction or management of such entity, whether by contract or
-      otherwise, or (ii) ownership of fifty percent (50%) or more of the
-      outstanding shares, or (iii) beneficial ownership of such entity.
-
-      "You" (or "Your") shall mean an individual or Legal Entity
-      exercising permissions granted by this License.
-
-      "Source" form shall mean the preferred form for making modifications,
-      including but not limited to software source code, documentation
-      source, and configuration files.
-
-      "Object" form shall mean any form resulting from mechanical
-      transformation or translation of a Source form, including but
-      not limited to compiled object code, generated documentation,
-      and conversions to other media types.
-
-      "Work" shall mean the work of authorship, whether in Source or
-      Object form, made available under the License, as indicated by a
-      copyright notice that is included in or attached to the work
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data/README.md

@@ -1,172 +1,172 @@
-# PG-19 Language Modelling Benchmark
-This repository contains the PG-19 language modeling benchmark. It includes a
-set of books extracted rom the Project Gutenberg books library [1], that were
-published before 1919. It also contains metadata of book titles and publication
-dates.
-
-<b><a href="https://console.cloud.google.com/storage/browser/deepmind-gutenberg">Full dataset download link</a></b>
-
-PG-19 is over double the size of the Billion Word benchmark [2] and contains
-documents that are 20X longer, on average, than the WikiText long-range language
-modelling benchmark [3].
-
-Books are partitioned into a `train`, `validation`, and `test` set. Book
-metadata is stored in `metadata.csv` which contains
-`(book_id, short_book_title, publication_date)`.
-
-Unlike prior benchmarks, we do not constrain the vocabulary size ---
-i.e. mapping rare words to an UNK token --- but instead release the data as an
-open-vocabulary benchmark. The only processing of the text that has been applied
-is the removal of boilerplate license text, and the mapping of offensive
-discriminatory words as specified by Ofcom [4] to placeholder <DW> tokens. Users
-are free to model the data at the character-level, subword-level, or via any
-mechanism that can model an arbitrary string of text.
-
-To compare models we propose to continue measuring the word-level perplexity,
-by calculating the total likelihood of the dataset (via any chosen subword
-vocabulary or character-based scheme) divided by the number of tokens ---
-specified below in the dataset statistics table.
-
-One could use this dataset for benchmarking long-range language models, or
-use it to pre-train for other natural language processing tasks which require
-long-range reasoning, such as LAMBADA [5] or NarrativeQA [6]. We would not
-recommend using this dataset to train a general-purpose language model, e.g.
-for applications to a production-system dialogue agent, due to the dated
-linguistic style of old texts and the inherent biases present in historical
-writing.
-
-### Dataset Statistics
-
-<table >
-    <tbody>
-        <tr>
-            <td> </td>
-            <td> Train </td>
-            <td> Validation </td>
-            <td> Test </td>
-        </tr>
-        <tr>
-            <td> Books </td>
-            <td> 28,602 </td>
-            <td> 50 </td>
-            <td> 100 </td>
-        </tr>
-        <tr>
-            <td>Num. Tokens </td>
-            <td> 1,973,136,207 </td>
-            <td> 3,007,061 </td>
-            <td> 6,966,499 </td>
-        </tr>
-    </tbody>
-</table>
-
-### Bibtex
-
-```
-@article{raecompressive2019,
-author = {Rae, Jack W and Potapenko, Anna and Jayakumar, Siddhant M and
-          Hillier, Chloe and Lillicrap, Timothy P},
-title = {Compressive Transformers for Long-Range Sequence Modelling},
-journal = {arXiv preprint},
-url = {https://arxiv.org/abs/1911.05507},
-year = {2019},
-}
-```
-
-### Dataset Metadata
-The following table is necessary for this dataset to be indexed by search
-engines such as <a href="https://g.co/datasetsearch">Google Dataset Search</a>.
-<div itemscope itemtype="http://schema.org/Dataset">
-<table>
-  <tr>
-    <th>property</th>
-    <th>value</th>
-  </tr>
-  <tr>
-    <td>name</td>
-    <td><code itemprop="name">The PG-19 Language Modeling Benchmark</code></td>
-  </tr>
-  <tr>
-    <td>alternateName</td>
-    <td><code itemprop="alternateName">PG-19</code></td>
-  </tr>
-  <tr>
-    <td>url</td>
-    <td><code itemprop="url">https://github.com/deepmind/pg19</code></td>
-  </tr>
-  <tr>
-    <td>sameAs</td>
-    <td><code itemprop="sameAs">https://github.com/deepmind/pg19</code></td>
-  </tr>
-  <tr>
-    <td>description</td>
-    <td><code itemprop="description">This repository contains the PG-19 dataset.
-    It includes a set of books extracted from the Project Gutenberg
-    books project (https://www.gutenberg.org), that were published before
-    1919. It also contains metadata of book titles and publication dates.</code></td>
-  </tr>
-  <tr>
-    <td>provider</td>
-    <td>
-      <div itemscope itemtype="http://schema.org/Organization" itemprop="provider">
-        <table>
-          <tr>
-            <th>property</th>
-            <th>value</th>
-          </tr>
-          <tr>
-            <td>name</td>
-            <td><code itemprop="name">DeepMind</code></td>
-          </tr>
-          <tr>
-            <td>sameAs</td>
-            <td><code itemprop="sameAs">https://en.wikipedia.org/wiki/DeepMind</code></td>
-          </tr>
-        </table>
-      </div>
-    </td>
-  </tr>
-  <tr>
-    <td>license</td>
-    <td>
-      <div itemscope itemtype="http://schema.org/CreativeWork" itemprop="license">
-        <table>
-          <tr>
-            <th>property</th>
-            <th>value</th>
-          </tr>
-          <tr>
-            <td>name</td>
-            <td><code itemprop="name">Apache License, Version 2.0</code></td>
-          </tr>
-          <tr>
-            <td>url</td>
-            <td><code itemprop="url">https://www.apache.org/licenses/LICENSE-2.0.html</code></td>
-          </tr>
-        </table>
-      </div>
-    </td>
-  </tr>
-  <tr>
-    <td>citation</td>
-    <td><code itemprop="citation">https://identifiers.org/arxiv:1911.05507</code></td>
-  </tr>
-</table>
-</div>
-
-### Contact
-
-If you have any questions, please contact <a href="mailto:jwrae@google.com">Jack Rae</a>.
-
-### References
-
-<ul style="list-style: none;">
-<li>[1] <a href="https://www.gutenberg.org/">https://www.gutenberg.org</a></li>
-<li>[2] Chelba et al. "One Billion Word Benchmark for Measuring Progress in Statistical Language Modeling" (2013)</li>
-<li>[3] Merity et al. "Pointer Sentinel Mixture Models" (2016)</li>
-<li>[4] <a href="https://www.ofcom.org.uk/__data/assets/pdf_file/0023/91625/OfcomQRG-AOC.pdf">Ofcom offensive language guide</a></li>
-<li>[5] Paperno et al. "The LAMBADA dataset: Word prediction requiring a broad discourse context" (2016)</li>
-<li>[6] Kočiský et al. "The narrativeqa reading comprehension challenge" (2018)</li>
-</ul>
-
-
+# PG-19 Language Modelling Benchmark
+This repository contains the PG-19 language modeling benchmark. It includes a
+set of books extracted rom the Project Gutenberg books library [1], that were
+published before 1919. It also contains metadata of book titles and publication
+dates.
+
+<b><a href="https://console.cloud.google.com/storage/browser/deepmind-gutenberg">Full dataset download link</a></b>
+
+PG-19 is over double the size of the Billion Word benchmark [2] and contains
+documents that are 20X longer, on average, than the WikiText long-range language
+modelling benchmark [3].
+
+Books are partitioned into a `train`, `validation`, and `test` set. Book
+metadata is stored in `metadata.csv` which contains
+`(book_id, short_book_title, publication_date)`.
+
+Unlike prior benchmarks, we do not constrain the vocabulary size ---
+i.e. mapping rare words to an UNK token --- but instead release the data as an
+open-vocabulary benchmark. The only processing of the text that has been applied
+is the removal of boilerplate license text, and the mapping of offensive
+discriminatory words as specified by Ofcom [4] to placeholder <DW> tokens. Users
+are free to model the data at the character-level, subword-level, or via any
+mechanism that can model an arbitrary string of text.
+
+To compare models we propose to continue measuring the word-level perplexity,
+by calculating the total likelihood of the dataset (via any chosen subword
+vocabulary or character-based scheme) divided by the number of tokens ---
+specified below in the dataset statistics table.
+
+One could use this dataset for benchmarking long-range language models, or
+use it to pre-train for other natural language processing tasks which require
+long-range reasoning, such as LAMBADA [5] or NarrativeQA [6]. We would not
+recommend using this dataset to train a general-purpose language model, e.g.
+for applications to a production-system dialogue agent, due to the dated
+linguistic style of old texts and the inherent biases present in historical
+writing.
+
+### Dataset Statistics
+
+<table >
+    <tbody>
+        <tr>
+            <td> </td>
+            <td> Train </td>
+            <td> Validation </td>
+            <td> Test </td>
+        </tr>
+        <tr>
+            <td> Books </td>
+            <td> 28,602 </td>
+            <td> 50 </td>
+            <td> 100 </td>
+        </tr>
+        <tr>
+            <td>Num. Tokens </td>
+            <td> 1,973,136,207 </td>
+            <td> 3,007,061 </td>
+            <td> 6,966,499 </td>
+        </tr>
+    </tbody>
+</table>
+
+### Bibtex
+
+```
+@article{raecompressive2019,
+author = {Rae, Jack W and Potapenko, Anna and Jayakumar, Siddhant M and
+          Hillier, Chloe and Lillicrap, Timothy P},
+title = {Compressive Transformers for Long-Range Sequence Modelling},
+journal = {arXiv preprint},
+url = {https://arxiv.org/abs/1911.05507},
+year = {2019},
+}
+```
+
+### Dataset Metadata
+The following table is necessary for this dataset to be indexed by search
+engines such as <a href="https://g.co/datasetsearch">Google Dataset Search</a>.
+<div itemscope itemtype="http://schema.org/Dataset">
+<table>
+  <tr>
+    <th>property</th>
+    <th>value</th>
+  </tr>
+  <tr>
+    <td>name</td>
+    <td><code itemprop="name">The PG-19 Language Modeling Benchmark</code></td>
+  </tr>
+  <tr>
+    <td>alternateName</td>
+    <td><code itemprop="alternateName">PG-19</code></td>
+  </tr>
+  <tr>
+    <td>url</td>
+    <td><code itemprop="url">https://github.com/deepmind/pg19</code></td>
+  </tr>
+  <tr>
+    <td>sameAs</td>
+    <td><code itemprop="sameAs">https://github.com/deepmind/pg19</code></td>
+  </tr>
+  <tr>
+    <td>description</td>
+    <td><code itemprop="description">This repository contains the PG-19 dataset.
+    It includes a set of books extracted from the Project Gutenberg
+    books project (https://www.gutenberg.org), that were published before
+    1919. It also contains metadata of book titles and publication dates.</code></td>
+  </tr>
+  <tr>
+    <td>provider</td>
+    <td>
+      <div itemscope itemtype="http://schema.org/Organization" itemprop="provider">
+        <table>
+          <tr>
+            <th>property</th>
+            <th>value</th>
+          </tr>
+          <tr>
+            <td>name</td>
+            <td><code itemprop="name">DeepMind</code></td>
+          </tr>
+          <tr>
+            <td>sameAs</td>
+            <td><code itemprop="sameAs">https://en.wikipedia.org/wiki/DeepMind</code></td>
+          </tr>
+        </table>
+      </div>
+    </td>
+  </tr>
+  <tr>
+    <td>license</td>
+    <td>
+      <div itemscope itemtype="http://schema.org/CreativeWork" itemprop="license">
+        <table>
+          <tr>
+            <th>property</th>
+            <th>value</th>
+          </tr>
+          <tr>
+            <td>name</td>
+            <td><code itemprop="name">Apache License, Version 2.0</code></td>
+          </tr>
+          <tr>
+            <td>url</td>
+            <td><code itemprop="url">https://www.apache.org/licenses/LICENSE-2.0.html</code></td>
+          </tr>
+        </table>
+      </div>
+    </td>
+  </tr>
+  <tr>
+    <td>citation</td>
+    <td><code itemprop="citation">https://identifiers.org/arxiv:1911.05507</code></td>
+  </tr>
+</table>
+</div>
+
+### Contact
+
+If you have any questions, please contact <a href="mailto:jwrae@google.com">Jack Rae</a>.
+
+### References
+
+<ul style="list-style: none;">
+<li>[1] <a href="https://www.gutenberg.org/">https://www.gutenberg.org</a></li>
+<li>[2] Chelba et al. "One Billion Word Benchmark for Measuring Progress in Statistical Language Modeling" (2013)</li>
+<li>[3] Merity et al. "Pointer Sentinel Mixture Models" (2016)</li>
+<li>[4] <a href="https://www.ofcom.org.uk/__data/assets/pdf_file/0023/91625/OfcomQRG-AOC.pdf">Ofcom offensive language guide</a></li>
+<li>[5] Paperno et al. "The LAMBADA dataset: Word prediction requiring a broad discourse context" (2016)</li>
+<li>[6] Kočiský et al. "The narrativeqa reading comprehension challenge" (2018)</li>
+</ul>
+
+

data/test/12204.txt

@@ -1,539 +1,539 @@
-
-
-
-
-Produced by David Widger
-
-
-
-
-ODD CRAFT
-
-By W.W. Jacobs
-
-
-
-BILL'S LAPSE
-
-Strength and good-nature--said the night-watchman, musingly, as he felt
-his biceps--strength and good-nature always go together.  Sometimes you
-find a strong man who is not good-natured, but then, as everybody he
-comes in contack with is, it comes to the same thing.
-
-The strongest and kindest-'earted man I ever come across was a man o' the
-name of Bill Burton, a ship-mate of Ginger Dick's.  For that matter 'e
-was a shipmate o' Peter Russet's and old Sam Small's too.  Not over and
-above tall; just about my height, his arms was like another man's legs
-for size, and 'is chest and his back and shoulders might ha' been made
-for a giant.  And with all that he'd got a soft blue eye like a gal's
-(blue's my favourite colour for gals' eyes), and a nice, soft, curly
-brown beard.  He was an A.B., too, and that showed 'ow good-natured he
-was, to pick up with firemen.
-
-He got so fond of 'em that when they was all paid off from the _Ocean
-King_ he asked to be allowed to join them in taking a room ashore.  It
-pleased every-body, four coming cheaper than three, and Bill being that
-good-tempered that 'e'd put up with anything, and when any of the three
-quarrelled he used to act the part of peacemaker.
-
-[Illustration: "When any of the three quarrelled he used to act the part
-of peacemaker."]
-
-The only thing about 'im that they didn't like was that 'e was a
-teetotaler.  He'd go into public-'ouses with 'em, but he wouldn't drink;
-leastways, that is to say, he wouldn't drink beer, and Ginger used to say
-that it made 'im feel uncomfortable to see Bill put away a bottle o'
-lemonade every time they 'ad a drink.  One night arter 'e had 'ad
-seventeen bottles he could 'ardly got home, and Peter Russet, who knew a
-lot about pills and such-like, pointed out to 'im 'ow bad it was for his
-constitushon.  He proved that the lemonade would eat away the coats o'
-Bill's stomach, and that if 'e kept on 'e might drop down dead at any
-moment.
-
-That frightened Bill a bit, and the next night, instead of 'aving
-lemonade, 'e had five bottles o' stone ginger-beer, six of different
-kinds of teetotal beer, three of soda-water, and two cups of coffee.  I'm
-not counting the drink he 'ad at the chemist's shop arterward, because he
-took that as medicine, but he was so queer in 'is inside next morning
-that 'e began to be afraid he'd 'ave to give up drink altogether.
-
-He went without the next night, but 'e was such a generous man that 'e
-would pay every fourth time, and there was no pleasure to the other chaps
-to see 'im pay and 'ave nothing out of it.  It spoilt their evening, and
-owing to 'aving only about 'arf wot they was accustomed to they all got
-up very disagreeable next morning.
-
-"Why not take just a little beer, Bill?" asks Ginger.
-
-Bill 'ung his 'ead and looked a bit silly.  "I'd rather not, mate," he
-ses, at last.  "I've been teetotal for eleven months now."
-
-"Think of your 'ealth, Bill," ses Peter Russet; "your 'ealth is more
-important than the pledge.  Wot made you take it?"
-
-Bill coughed.  "I 'ad reasons," he ses, slowly.  "A mate o' mine wished
-me to."
-
-"He ought to ha' known better," ses Sam.  "He 'ad 'is reasons," ses Bill.
-
-"Well, all I can say is, Bill," ses Ginger, "all I can say is, it's very
-disobligin' of you."
-
-"Disobligin'?" ses Bill, with a start; "don't say that, mate."
-
-"I must say it," ses Ginger, speaking very firm.
-
-"You needn't take a lot, Bill," ses Sam; "nobody wants you to do that.
-Just drink in moderation, same as wot we do."
-
-"It gets into my 'ead," ses Bill, at last.
-
-"Well, and wot of it?" ses Ginger; "it gets into everybody's 'ead
-occasionally.  Why, one night old Sam 'ere went up behind a policeman and
-tickled 'im under the arms; didn't you, Sam?"
-
-"I did nothing o' the kind," ses Sam, firing up.
-
-"Well, you was fined ten bob for it next morning, that's all I know," ses
-Ginger.
-
-"I was fined ten bob for punching 'im," ses old Sam, very wild.  "I never
-tickled a policeman in my life.  I never thought o' such a thing.  I'd no
-more tickle a policeman than I'd fly.  Anybody that ses I did is a liar.
-Why should I?  Where does the sense come in?  Wot should I want to do it
-for?"
-
-"All right, Sam," ses Ginger, sticking 'is fingers in 'is ears, "you
-didn't, then."
-
-"No, I didn't," ses Sam, "and don't you forget it.  This ain't the fust
-time you've told that lie about me.  I can take a joke with any man; but
-anybody that goes and ses I tickled--"
-
-"All right," ses Ginger and Peter Russet together.  "You'll 'ave tickled
-policeman on the brain if you ain't careful, Sam," ses Peter.
-
-Old Sam sat down growling, and Ginger Dick turned to Bill agin.  "It gets
-into everybody's 'ead at times," he ses, "and where's the 'arm?  It's wot
-it was meant for."
-
-Bill shook his 'ead, but when Ginger called 'im disobligin' agin he gave
-way and he broke the pledge that very evening with a pint o' six 'arf.
-
-Ginger was surprised to see the way 'e took his liquor.  Arter three or
-four pints he'd expected to see 'im turn a bit silly, or sing, or do
-something o' the kind, but Bill kept on as if 'e was drinking water.
-
-"Think of the 'armless pleasure you've been losing all these months,
-Bill," ses Ginger, smiling at him.
-
-Bill said it wouldn't bear thinking of, and, the next place they came to
-he said some rather 'ard things of the man who'd persuaded 'im to take
-the pledge.  He 'ad two or three more there, and then they began to see
-that it was beginning to have an effect on 'im.  The first one that
-noticed it was Ginger Dick.  Bill 'ad just lit 'is pipe, and as he threw
-the match down he ses: "I don't like these 'ere safety matches," he ses.
-
-"Don't you, Bill?" ses Ginger.  "I do, rather."
-
-"Oh, you do, do you?"  ses Bill, turning on 'im like lightning; "well,
-take that for contradictin'," he ses, an' he gave Ginger a smack that
-nearly knocked his 'ead off.
-
-It was so sudden that old Sam and Peter put their beer down and stared at
-each other as if they couldn't believe their eyes.  Then they stooped
-down and helped pore Ginger on to 'is legs agin and began to brush 'im
-down.
-
-"Never mind about 'im, mates," ses Bill, looking at Ginger very wicked.
-"P'r'aps he won't be so ready to give me 'is lip next time.  Let's come
-to another pub and enjoy ourselves."
-
-Sam and Peter followed 'im out like lambs, 'ardly daring to look over
-their shoulder at Ginger, who was staggering arter them some distance
-behind a 'olding a handerchief to 'is face.
-
-"It's your turn to pay, Sam," ses Bill, when they'd got inside the next
-place.  "Wot's it to be?  Give it a name."
-
-"Three 'arf pints o' four ale, miss," ses Sam, not because 'e was mean,
-but because it wasn't 'is turn.  "Three wot?" ses Bill, turning on 'im.
-
-"Three pots o' six ale, miss," ses Sam, in a hurry.
-
-"That wasn't wot you said afore," ses Bill.  "Take that," he ses, giving
-pore old Sam a wipe in the mouth and knocking 'im over a stool; "take
-that for your sauce."
-
-Peter Russet stood staring at Sam and wondering wot Bill ud be like when
-he'd 'ad a little more.  Sam picked hisself up arter a time and went
-outside to talk to Ginger about it, and then Bill put 'is arm round
-Peter's neck and began to cry a bit and say 'e was the only pal he'd got
-left in the world.  It was very awkward for Peter, and more awkward still
-when the barman came up and told 'im to take Bill outside.
-
-"Go on," he ses, "out with 'im."
-
-"He's all right," ses Peter, trembling; "we's the truest-'arted gentleman
-in London.  Ain't you, Bill?"
-
-Bill said he was, and 'e asked the barman to go and hide 'is face because
-it reminded 'im of a little dog 'e had 'ad once wot 'ad died.
-
-"You get outside afore you're hurt," ses the bar-man.
-
-Bill punched at 'im over the bar, and not being able to reach 'im threw
-Peter's pot o' beer at 'im.  There was a fearful to-do then, and the
-landlord jumped over the bar and stood in the doorway, whistling for the
-police.  Bill struck out right and left, and the men in the bar went down
-like skittles, Peter among them.  Then they got outside, and Bill, arter
-giving the landlord a thump in the back wot nearly made him swallow the
-whistle, jumped into a cab and pulled Peter Russet in arter 'im.
-
-[Illustration: "Bill jumped into a cab and pulled Peter Russet in arter
-'im."]
-
-"I'll talk to you by-and-by," he ses, as the cab drove off at a gallop;
-"there ain't room in this cab.  You wait, my lad, that's all.  You just
-wait till we get out, and I'll knock you silly."
-
-"Wot for, Bill?"  ses Peter, staring.
-
-"Don't you talk to me," roars Bill.  "If I choose to knock you about
-that's my business, ain't it?  Besides, you know very well."
-
-He wouldn't let Peter say another word, but coming to a quiet place near
-the docks he stopped the cab and pulling 'im out gave 'im such a dressing
-down that Peter thought 'is last hour 'ad arrived.  He let 'im go at
-last, and after first making him pay the cab-man took 'im along till they
-came to a public-'ouse and made 'im pay for drinks.
-
-They stayed there till nearly eleven o'clock, and then Bill set off home
-'olding the unfortunit Peter by the scruff o' the neck, and wondering out
-loud whether 'e ought to pay 'im a bit more or not.  Afore 'e could make
-up 'is mind, however, he turned sleepy, and, throwing 'imself down on the
-bed which was meant for the two of 'em, fell into a peaceful sleep.
-
-Sam and Ginger Dick came in a little while arterward, both badly marked
-where Bill 'ad hit them, and sat talking to Peter in whispers as to wot
-was to be done.  Ginger, who 'ad plenty of pluck, was for them all to set
-on to 'im, but Sam wouldn't 'ear of it, and as for Peter he was so sore
-he could 'ardly move.
-
-They all turned in to the other bed at last, 'arf afraid to move for fear
-of disturbing Bill, and when they woke up in the morning and see 'im
-sitting up in 'is bed they lay as still as mice.
-
-"Why, Ginger, old chap," ses Bill, with a 'earty smile, "wot are you all
-three in one bed for?"  "We was a bit cold," ses Ginger.
-
-"Cold?"  ses Bill.  "Wot, this weather?  We 'ad a bit of a spree last
-night, old man, didn't we?  My throat's as dry as a cinder."
-
-"It ain't my idea of a spree," ses Ginger, sitting up and looking at 'im.
-
-"Good 'eavens, Ginger!" ses Bill, starting back, "wotever 'ave you been
-a-doing to your face?  Have you been tumbling off of a 'bus?"
-
-Ginger couldn't answer; and Sam Small and Peter sat up in bed alongside
-of 'im, and Bill, getting as far back on 'is bed as he could, sat staring
-at their pore faces as if 'e was having a 'orrible dream.
-
-"And there's Sam," he ses.  "Where ever did you get that mouth, Sam?"
-
-"Same place as Ginger got 'is eye and pore Peter got 'is face," ses Sam,
-grinding his teeth.
-
-"You don't mean to tell me," ses Bill, in a sad voice--"you don't mean to
-tell me that I did it?"
-
-"You know well enough," ses Ginger.
-
-Bill looked at 'em, and 'is face got as long as a yard measure.
-
-"I'd 'oped I'd growed out of it, mates," he ses, at last, "but drink
-always takes me like that.  I can't keep a pal."
-
-"You surprise me," ses Ginger, sarcastic-like.  "Don't talk like that,
-Ginger," ses Bill, 'arf crying.
-
-"It ain't my fault; it's my weakness.  Wot did I do it for?"
-
-"I don't know," ses Ginger, "but you won't get the chance of doing it
-agin, I'll tell you that much."
-
-"I daresay I shall be better to-night, Ginger," ses Bill, very humble;
-"it don't always take me that way.
-
-"Well, we don't want you with us any more," ses old Sam, 'olding his 'ead
-very high.
-
-"You'll 'ave to go and get your beer by yourself, Bill," ses Peter
-Russet, feeling 'is bruises with the tips of 'is fingers.
-
-"But then I should be worse," ses Bill.  "I want cheerful company when
-I'm like that.  I should very likely come 'ome and 'arf kill you all in
-your beds.  You don't 'arf know what I'm like.  Last night was nothing,
-else I should 'ave remembered it."
-
-"Cheerful company?"  ses old Sam.  'Ow do you think company's going to be
-cheerful when you're carrying on like that, Bill?  Why don't you go away
-and leave us alone?"
-
-"Because I've got a 'art," ses Bill.  "I can't chuck up pals in that
-free-and-easy way.  Once I take a liking to anybody I'd do anything for
-'em, and I've never met three chaps I like better than wot I do you.
-Three nicer, straight-forrad, free-'anded mates I've never met afore."
-
-"Why not take the pledge agin, Bill?"  ses Peter Russet.
-
-"No, mate," ses Bill, with a kind smile; "it's just a weakness, and I
-must try and grow out of it.  I'll tie a bit o' string round my little
-finger to-night as a re-minder."
-
-He got out of bed and began to wash 'is face, and Ginger Dick, who was
-doing a bit o' thinking, gave a whisper to Sam and Peter Russet.
-
-"All right, Bill, old man," he ses, getting out of bed and beginning to
-put his clothes on; "but first of all we'll try and find out 'ow the
-landlord is."
-
-"Landlord?" ses Bill, puffing and blowing in the basin.  "Wot landlord?"
-
-"Why, the one you bashed," ses Ginger, with a wink at the other two.  "He
-'adn't got 'is senses back when me and Sam came away."
-
-Bill gave a groan and sat on the bed while 'e dried himself, and Ginger
-told 'im 'ow he 'ad bent a quart pot on the landlord's 'ead, and 'ow the
-landlord 'ad been carried upstairs and the doctor sent for.  He began to
-tremble all over, and when Ginger said he'd go out and see 'ow the land
-lay 'e could 'ardly thank 'im enough.
-
-He stayed in the bedroom all day, with the blinds down, and wouldn't eat
-anything, and when Ginger looked in about eight o'clock to find out
-whether he 'ad gone, he found 'im sitting on the bed clean shaved, and
-'is face cut about all over where the razor 'ad slipped.
-
-Ginger was gone about two hours, and when 'e came back he looked so
-solemn that old Sam asked 'im whether he 'ad seen a ghost.  Ginger didn't
-answer 'im; he set down on the side o' the bed and sat thinking.
-
-"I s'pose--I s'pose it's nice and fresh in the streets this morning?"
-ses Bill, at last, in a trembling voice.
-
-Ginger started and looked at 'im.  "I didn't notice, mate," he ses.  Then
-'e got up and patted Bill on the back, very gentle, and sat down again.
-
-[Illustration: "Patted Bill on the back, very gentle."]
-
-"Anything wrong, Ginger?"  asks Peter Russet, staring at 'im.
-
-"It's that landlord," ses Ginger; "there's straw down in the road
-outside, and they say that he's dying.  Pore old Bill don't know 'is own
-strength.  The best thing you can do, old pal, is to go as far away as
-you can, at once."
-
-"I shouldn't wait a minnit if it was me," ses old Sam.
-
-Bill groaned and hid 'is face in his 'ands, and then Peter Russet went
-and spoilt things by saying that the safest place for a murderer to 'ide
-in was London.  Bill gave a dreadful groan when 'e said murderer, but 'e
-up and agreed with Peter, and all Sam and Ginger Dick could do wouldn't
-make 'im alter his mind.  He said that he would shave off 'is beard and
-moustache, and when night came 'e would creep out and take a lodging
-somewhere right the other end of London.
-
-"It'll soon be dark," ses Ginger, "and your own brother wouldn't know you
-now, Bill.  Where d'you think of going?"
-
-Bill shook his 'ead.  "Nobody must know that, mate," he ses.  "I must go
-into hiding for as long as I can--as long as my money lasts; I've only
-got six pounds left."
-
-"That'll last a long time if you're careful," ses Ginger.
-
-"I want a lot more," ses Bill.  "I want you to take this silver ring as a
-keepsake, Ginger.  If I 'ad another six pounds or so I should feel much
-safer.  'Ow much 'ave you got, Ginger?"
-
-"Not much," ses Ginger, shaking his 'ead.
-
-"Lend it to me, mate," ses Bill, stretching out his 'and.  "You can easy
-get another ship.  Ah, I wish I was you; I'd be as 'appy as 'appy if I
-hadn't got a penny."
-
-"I'm very sorry, Bill," ses Ginger, trying to smile, "but I've already
-promised to lend it to a man wot we met this evening.  A promise is a
-promise, else I'd lend it to you with pleasure."
-
-"Would you let me be 'ung for the sake of a few pounds, Ginger?"  ses
-Bill, looking at 'im reproach-fully.  "I'm a desprit man, Ginger, and I
-must 'ave that money."
-
-Afore pore Ginger could move he suddenly clapped 'is hand over 'is mouth
-and flung 'im on the bed.  Ginger was like a child in 'is hands, although
-he struggled like a madman, and in five minutes 'e was laying there with
-a towel tied round his mouth and 'is arms and legs tied up with the cord
-off of Sam's chest.
-
-"I'm very sorry, Ginger," ses Bill, as 'e took a little over eight pounds
-out of Ginger's pocket.  "I'll pay you back one o' these days, if I can.
-If you'd got a rope round your neck same as I 'ave you'd do the same as
-I've done."
-
-He lifted up the bedclothes and put Ginger inside and tucked 'im up.
-Ginger's face was red with passion and 'is eyes starting out of his 'ead.
-
-"Eight and six is fifteen," ses Bill, and just then he 'eard somebody
-coming up the stairs.  Ginger 'eard it, too, and as Peter Russet came
-into the room 'e tried all 'e could to attract 'is attention by rolling
-'is 'ead from side to side.
-
-"Why, 'as Ginger gone to bed?" ses Peter.  "Wot's up, Ginger?"
-
-"He's all right," ses Bill; "just a bit of a 'eadache."
-
-Peter stood staring at the bed, and then 'e pulled the clothes off and
-saw pore Ginger all tied up, and making awful eyes at 'im to undo him.
-
-"I 'ad to do it, Peter," ses Bill.  "I wanted some more money to escape
-with, and 'e wouldn't lend it to me.  I 'aven't got as much as I want
-now.  You just came in in the nick of time.  Another minute and you'd ha'
-missed me.  'Ow much 'ave you got?"
-
-"Ah, I wish I could lend you some, Bill," ses Peter Russet, turning pale,
-"but I've 'ad my pocket picked; that's wot I came back for, to get some
-from Ginger."
-
-Bill didn't say a word.
-
-"You see 'ow it is, Bill," ses Peter, edging back toward the door; "three
-men laid 'old of me and took every farthing I'd got."
-
-"Well, I can't rob you, then," ses Bill, catching 'old of 'im.
-"Whoever's money this is," he ses, pulling a handful out o' Peter's
-pocket, "it can't be yours.  Now, if you make another sound I'll knock
-your 'ead off afore I tie you up."
-
-"Don't tie me up, Bill," ses Peter, struggling.
-
-"I can't trust you," ses Bill, dragging 'im over to the washstand and
-taking up the other towel; "turn round."
-
-Peter was a much easier job than Ginger Dick, and arter Bill 'ad done 'im
-'e put 'im in alongside o' Ginger and covered 'em up, arter first tying
-both the gags round with some string to prevent 'em slipping.
-
-"Mind, I've only borrowed it," he ses, standing by the side o' the bed;
-"but I must say, mates, I'm disappointed in both of you.  If either of
-you 'ad 'ad the misfortune wot I've 'ad, I'd have sold the clothes off my
-back to 'elp you.  And I wouldn't 'ave waited to be asked neither."
-
-He stood there for a minute very sorrowful, and then 'e patted both their
-'eads and went downstairs.  Ginger and Peter lay listening for a bit, and
-then they turned their pore bound-up faces to each other and tried to
-talk with their eyes.
-
-Then Ginger began to wriggle and try and twist the cords off, but 'e
-might as well 'ave tried to wriggle out of 'is skin.  The worst of it was
-they couldn't make known their intentions to each other, and when Peter
-Russet leaned over 'im and tried to work 'is gag off by rubbing it up
-agin 'is nose, Ginger pretty near went crazy with temper.  He banged
-Peter with his 'ead, and Peter banged back, and they kept it up till
-they'd both got splitting 'eadaches, and at last they gave up in despair
-and lay in the darkness waiting for Sam.
-
-And all this time Sam was sitting in the Red Lion, waiting for them.  He
-sat there quite patient till twelve o'clock and then walked slowly 'ome,
-wondering wot 'ad happened and whether Bill had gone.
-
-Ginger was the fust to 'ear 'is foot on the stairs, and as he came into
-the room, in the darkness, him an' Peter Russet started shaking their bed
-in a way that scared old Sam nearly to death.  He thought it was Bill
-carrying on agin, and 'e was out o' that door and 'arf-way downstairs
-afore he stopped to take breath.  He stood there trembling for about ten
-minutes, and then, as nothing 'appened, he walked slowly upstairs agin on
-tiptoe, and as soon as they heard the door creak Peter and Ginger made
-that bed do everything but speak.
-
-"Is that you, Bill?"  ses old Sam, in a shaky voice, and standing ready
-to dash downstairs agin.
-
-There was no answer except for the bed, and Sam didn't know whether Bill
-was dying or whether 'e 'ad got delirium trimmings.  All 'e did know was
-that 'e wasn't going to sleep in that room.  He shut the door gently and
-went downstairs agin, feeling in 'is pocket for a match, and, not finding
-one, 'e picked out the softest stair 'e could find and, leaning his 'ead
-agin the banisters, went to sleep.
-
-[Illustration: "Picked out the softest stair 'e could find."]
-
-It was about six o'clock when 'e woke up, and broad daylight.  He was
-stiff and sore all over, and feeling braver in the light 'e stepped
-softly upstairs and opened the door.  Peter and Ginger was waiting for
-'im, and as he peeped in 'e saw two things sitting up in bed with their
-'air standing up all over like mops and their faces tied up with
-bandages.  He was that startled 'e nearly screamed, and then 'e stepped
-into the room and stared at 'em as if he couldn't believe 'is eyes.
-
-"Is that you, Ginger?" he ses.  "Wot d'ye mean by making sights of
-yourselves like that?  'Ave you took leave of your senses?"
-
-Ginger and Peter shook their 'eads and rolled their eyes, and then Sam
-see wot was the matter with 'em.  Fust thing 'e did was to pull out 'is
-knife and cut Ginger's gag off, and the fust thing Ginger did was to call
-'im every name 'e could lay his tongue to.
-
-"You wait a moment," he screams, 'arf crying with rage.  "You wait till I
-get my 'ands loose and I'll pull you to pieces.  The idea o' leaving us
-like this all night, you old crocodile.  I 'eard you come in.  I'll pay
-you."
-
-Sam didn't answer 'im.  He cut off Peter Russet's gag, and Peter Russet
-called 'im 'arf a score o' names without taking breath.
-
-"And when Ginger's finished I'll 'ave a go at you," he ses.  "Cut off
-these lines."
-
-"At once, d'ye hear?"  ses Ginger.  "Oh, you wait till I get my 'ands on
-you."
-
-Sam didn't answer 'em; he shut up 'is knife with a click and then 'e sat
-at the foot o' the bed on Ginger's feet and looked at 'em.  It wasn't the
-fust time they'd been rude to 'im, but as a rule he'd 'ad to put up with
-it.  He sat and listened while Ginger swore 'imself faint.
-
-"That'll do," he ses, at last; "another word and I shall put the
-bedclothes over your 'ead.  Afore I do anything more I want to know wot
-it's all about."
-
-Peter told 'im, arter fust calling 'im some more names, because Ginger
-was past it, and when 'e'd finished old Sam said 'ow surprised he was
-at them for letting Bill do it, and told 'em how they ought to 'ave
-prevented it.  He sat there talking as though 'e enjoyed the sound of 'is
-own voice, and he told Peter and Ginger all their faults and said wot
-sorrow it caused their friends.  Twice he 'ad to throw the bedclothes
-over their 'eads because o' the noise they was making.
-
-[Illustration: "Old Sam said 'ow surprised he was at them for letting
-Bill do it."]
-
-"_Are you going--to undo--us?_"  ses Ginger, at last.
-
-"No, Ginger," ses old Sam; "in justice to myself I couldn't do it.  Arter
-wot you've said--and arter wot I've said--my life wouldn't be safe.
-Besides which, you'd want to go shares in my money."
-
-He took up 'is chest and marched downstairs with it, and about 'arf an
-hour arterward the landlady's 'usband came up and set 'em free.  As soon
-as they'd got the use of their legs back they started out to look for
-Sam, but they didn't find 'im for nearly a year, and as for Bill, they
-never set eyes on 'im again.
-
-
-
-
-
-End of the Project Gutenberg EBook of Bill's Lapse, by W.W. Jacobs
-
+
+
+
+
+Produced by David Widger
+
+
+
+
+ODD CRAFT
+
+By W.W. Jacobs
+
+
+
+BILL'S LAPSE
+
+Strength and good-nature--said the night-watchman, musingly, as he felt
+his biceps--strength and good-nature always go together.  Sometimes you
+find a strong man who is not good-natured, but then, as everybody he
+comes in contack with is, it comes to the same thing.
+
+The strongest and kindest-'earted man I ever come across was a man o' the
+name of Bill Burton, a ship-mate of Ginger Dick's.  For that matter 'e
+was a shipmate o' Peter Russet's and old Sam Small's too.  Not over and
+above tall; just about my height, his arms was like another man's legs
+for size, and 'is chest and his back and shoulders might ha' been made
+for a giant.  And with all that he'd got a soft blue eye like a gal's
+(blue's my favourite colour for gals' eyes), and a nice, soft, curly
+brown beard.  He was an A.B., too, and that showed 'ow good-natured he
+was, to pick up with firemen.
+
+He got so fond of 'em that when they was all paid off from the _Ocean
+King_ he asked to be allowed to join them in taking a room ashore.  It
+pleased every-body, four coming cheaper than three, and Bill being that
+good-tempered that 'e'd put up with anything, and when any of the three
+quarrelled he used to act the part of peacemaker.
+
+[Illustration: "When any of the three quarrelled he used to act the part
+of peacemaker."]
+
+The only thing about 'im that they didn't like was that 'e was a
+teetotaler.  He'd go into public-'ouses with 'em, but he wouldn't drink;
+leastways, that is to say, he wouldn't drink beer, and Ginger used to say
+that it made 'im feel uncomfortable to see Bill put away a bottle o'
+lemonade every time they 'ad a drink.  One night arter 'e had 'ad
+seventeen bottles he could 'ardly got home, and Peter Russet, who knew a
+lot about pills and such-like, pointed out to 'im 'ow bad it was for his
+constitushon.  He proved that the lemonade would eat away the coats o'
+Bill's stomach, and that if 'e kept on 'e might drop down dead at any
+moment.
+
+That frightened Bill a bit, and the next night, instead of 'aving
+lemonade, 'e had five bottles o' stone ginger-beer, six of different
+kinds of teetotal beer, three of soda-water, and two cups of coffee.  I'm
+not counting the drink he 'ad at the chemist's shop arterward, because he
+took that as medicine, but he was so queer in 'is inside next morning
+that 'e began to be afraid he'd 'ave to give up drink altogether.
+
+He went without the next night, but 'e was such a generous man that 'e
+would pay every fourth time, and there was no pleasure to the other chaps
+to see 'im pay and 'ave nothing out of it.  It spoilt their evening, and
+owing to 'aving only about 'arf wot they was accustomed to they all got
+up very disagreeable next morning.
+
+"Why not take just a little beer, Bill?" asks Ginger.
+
+Bill 'ung his 'ead and looked a bit silly.  "I'd rather not, mate," he
+ses, at last.  "I've been teetotal for eleven months now."
+
+"Think of your 'ealth, Bill," ses Peter Russet; "your 'ealth is more
+important than the pledge.  Wot made you take it?"
+
+Bill coughed.  "I 'ad reasons," he ses, slowly.  "A mate o' mine wished
+me to."
+
+"He ought to ha' known better," ses Sam.  "He 'ad 'is reasons," ses Bill.
+
+"Well, all I can say is, Bill," ses Ginger, "all I can say is, it's very
+disobligin' of you."
+
+"Disobligin'?" ses Bill, with a start; "don't say that, mate."
+
+"I must say it," ses Ginger, speaking very firm.
+
+"You needn't take a lot, Bill," ses Sam; "nobody wants you to do that.
+Just drink in moderation, same as wot we do."
+
+"It gets into my 'ead," ses Bill, at last.
+
+"Well, and wot of it?" ses Ginger; "it gets into everybody's 'ead
+occasionally.  Why, one night old Sam 'ere went up behind a policeman and
+tickled 'im under the arms; didn't you, Sam?"
+
+"I did nothing o' the kind," ses Sam, firing up.
+
+"Well, you was fined ten bob for it next morning, that's all I know," ses
+Ginger.
+
+"I was fined ten bob for punching 'im," ses old Sam, very wild.  "I never
+tickled a policeman in my life.  I never thought o' such a thing.  I'd no
+more tickle a policeman than I'd fly.  Anybody that ses I did is a liar.
+Why should I?  Where does the sense come in?  Wot should I want to do it
+for?"
+
+"All right, Sam," ses Ginger, sticking 'is fingers in 'is ears, "you
+didn't, then."
+
+"No, I didn't," ses Sam, "and don't you forget it.  This ain't the fust
+time you've told that lie about me.  I can take a joke with any man; but
+anybody that goes and ses I tickled--"
+
+"All right," ses Ginger and Peter Russet together.  "You'll 'ave tickled
+policeman on the brain if you ain't careful, Sam," ses Peter.
+
+Old Sam sat down growling, and Ginger Dick turned to Bill agin.  "It gets
+into everybody's 'ead at times," he ses, "and where's the 'arm?  It's wot
+it was meant for."
+
+Bill shook his 'ead, but when Ginger called 'im disobligin' agin he gave
+way and he broke the pledge that very evening with a pint o' six 'arf.
+
+Ginger was surprised to see the way 'e took his liquor.  Arter three or
+four pints he'd expected to see 'im turn a bit silly, or sing, or do
+something o' the kind, but Bill kept on as if 'e was drinking water.
+
+"Think of the 'armless pleasure you've been losing all these months,
+Bill," ses Ginger, smiling at him.
+
+Bill said it wouldn't bear thinking of, and, the next place they came to
+he said some rather 'ard things of the man who'd persuaded 'im to take
+the pledge.  He 'ad two or three more there, and then they began to see
+that it was beginning to have an effect on 'im.  The first one that
+noticed it was Ginger Dick.  Bill 'ad just lit 'is pipe, and as he threw
+the match down he ses: "I don't like these 'ere safety matches," he ses.
+
+"Don't you, Bill?" ses Ginger.  "I do, rather."
+
+"Oh, you do, do you?"  ses Bill, turning on 'im like lightning; "well,
+take that for contradictin'," he ses, an' he gave Ginger a smack that
+nearly knocked his 'ead off.
+
+It was so sudden that old Sam and Peter put their beer down and stared at
+each other as if they couldn't believe their eyes.  Then they stooped
+down and helped pore Ginger on to 'is legs agin and began to brush 'im
+down.
+
+"Never mind about 'im, mates," ses Bill, looking at Ginger very wicked.
+"P'r'aps he won't be so ready to give me 'is lip next time.  Let's come
+to another pub and enjoy ourselves."
+
+Sam and Peter followed 'im out like lambs, 'ardly daring to look over
+their shoulder at Ginger, who was staggering arter them some distance
+behind a 'olding a handerchief to 'is face.
+
+"It's your turn to pay, Sam," ses Bill, when they'd got inside the next
+place.  "Wot's it to be?  Give it a name."
+
+"Three 'arf pints o' four ale, miss," ses Sam, not because 'e was mean,
+but because it wasn't 'is turn.  "Three wot?" ses Bill, turning on 'im.
+
+"Three pots o' six ale, miss," ses Sam, in a hurry.
+
+"That wasn't wot you said afore," ses Bill.  "Take that," he ses, giving
+pore old Sam a wipe in the mouth and knocking 'im over a stool; "take
+that for your sauce."
+
+Peter Russet stood staring at Sam and wondering wot Bill ud be like when
+he'd 'ad a little more.  Sam picked hisself up arter a time and went
+outside to talk to Ginger about it, and then Bill put 'is arm round
+Peter's neck and began to cry a bit and say 'e was the only pal he'd got
+left in the world.  It was very awkward for Peter, and more awkward still
+when the barman came up and told 'im to take Bill outside.
+
+"Go on," he ses, "out with 'im."
+
+"He's all right," ses Peter, trembling; "we's the truest-'arted gentleman
+in London.  Ain't you, Bill?"
+
+Bill said he was, and 'e asked the barman to go and hide 'is face because
+it reminded 'im of a little dog 'e had 'ad once wot 'ad died.
+
+"You get outside afore you're hurt," ses the bar-man.
+
+Bill punched at 'im over the bar, and not being able to reach 'im threw
+Peter's pot o' beer at 'im.  There was a fearful to-do then, and the
+landlord jumped over the bar and stood in the doorway, whistling for the
+police.  Bill struck out right and left, and the men in the bar went down
+like skittles, Peter among them.  Then they got outside, and Bill, arter
+giving the landlord a thump in the back wot nearly made him swallow the
+whistle, jumped into a cab and pulled Peter Russet in arter 'im.
+
+[Illustration: "Bill jumped into a cab and pulled Peter Russet in arter
+'im."]
+
+"I'll talk to you by-and-by," he ses, as the cab drove off at a gallop;
+"there ain't room in this cab.  You wait, my lad, that's all.  You just
+wait till we get out, and I'll knock you silly."
+
+"Wot for, Bill?"  ses Peter, staring.
+
+"Don't you talk to me," roars Bill.  "If I choose to knock you about
+that's my business, ain't it?  Besides, you know very well."
+
+He wouldn't let Peter say another word, but coming to a quiet place near
+the docks he stopped the cab and pulling 'im out gave 'im such a dressing
+down that Peter thought 'is last hour 'ad arrived.  He let 'im go at
+last, and after first making him pay the cab-man took 'im along till they
+came to a public-'ouse and made 'im pay for drinks.
+
+They stayed there till nearly eleven o'clock, and then Bill set off home
+'olding the unfortunit Peter by the scruff o' the neck, and wondering out
+loud whether 'e ought to pay 'im a bit more or not.  Afore 'e could make
+up 'is mind, however, he turned sleepy, and, throwing 'imself down on the
+bed which was meant for the two of 'em, fell into a peaceful sleep.
+
+Sam and Ginger Dick came in a little while arterward, both badly marked
+where Bill 'ad hit them, and sat talking to Peter in whispers as to wot
+was to be done.  Ginger, who 'ad plenty of pluck, was for them all to set
+on to 'im, but Sam wouldn't 'ear of it, and as for Peter he was so sore
+he could 'ardly move.
+
+They all turned in to the other bed at last, 'arf afraid to move for fear
+of disturbing Bill, and when they woke up in the morning and see 'im
+sitting up in 'is bed they lay as still as mice.
+
+"Why, Ginger, old chap," ses Bill, with a 'earty smile, "wot are you all
+three in one bed for?"  "We was a bit cold," ses Ginger.
+
+"Cold?"  ses Bill.  "Wot, this weather?  We 'ad a bit of a spree last
+night, old man, didn't we?  My throat's as dry as a cinder."
+
+"It ain't my idea of a spree," ses Ginger, sitting up and looking at 'im.
+
+"Good 'eavens, Ginger!" ses Bill, starting back, "wotever 'ave you been
+a-doing to your face?  Have you been tumbling off of a 'bus?"
+
+Ginger couldn't answer; and Sam Small and Peter sat up in bed alongside
+of 'im, and Bill, getting as far back on 'is bed as he could, sat staring
+at their pore faces as if 'e was having a 'orrible dream.
+
+"And there's Sam," he ses.  "Where ever did you get that mouth, Sam?"
+
+"Same place as Ginger got 'is eye and pore Peter got 'is face," ses Sam,
+grinding his teeth.
+
+"You don't mean to tell me," ses Bill, in a sad voice--"you don't mean to
+tell me that I did it?"
+
+"You know well enough," ses Ginger.
+
+Bill looked at 'em, and 'is face got as long as a yard measure.
+
+"I'd 'oped I'd growed out of it, mates," he ses, at last, "but drink
+always takes me like that.  I can't keep a pal."
+
+"You surprise me," ses Ginger, sarcastic-like.  "Don't talk like that,
+Ginger," ses Bill, 'arf crying.
+
+"It ain't my fault; it's my weakness.  Wot did I do it for?"
+
+"I don't know," ses Ginger, "but you won't get the chance of doing it
+agin, I'll tell you that much."
+
+"I daresay I shall be better to-night, Ginger," ses Bill, very humble;
+"it don't always take me that way.
+
+"Well, we don't want you with us any more," ses old Sam, 'olding his 'ead
+very high.
+
+"You'll 'ave to go and get your beer by yourself, Bill," ses Peter
+Russet, feeling 'is bruises with the tips of 'is fingers.
+
+"But then I should be worse," ses Bill.  "I want cheerful company when
+I'm like that.  I should very likely come 'ome and 'arf kill you all in
+your beds.  You don't 'arf know what I'm like.  Last night was nothing,
+else I should 'ave remembered it."
+
+"Cheerful company?"  ses old Sam.  'Ow do you think company's going to be
+cheerful when you're carrying on like that, Bill?  Why don't you go away
+and leave us alone?"
+
+"Because I've got a 'art," ses Bill.  "I can't chuck up pals in that
+free-and-easy way.  Once I take a liking to anybody I'd do anything for
+'em, and I've never met three chaps I like better than wot I do you.
+Three nicer, straight-forrad, free-'anded mates I've never met afore."
+
+"Why not take the pledge agin, Bill?"  ses Peter Russet.
+
+"No, mate," ses Bill, with a kind smile; "it's just a weakness, and I
+must try and grow out of it.  I'll tie a bit o' string round my little
+finger to-night as a re-minder."
+
+He got out of bed and began to wash 'is face, and Ginger Dick, who was
+doing a bit o' thinking, gave a whisper to Sam and Peter Russet.
+
+"All right, Bill, old man," he ses, getting out of bed and beginning to
+put his clothes on; "but first of all we'll try and find out 'ow the
+landlord is."
+
+"Landlord?" ses Bill, puffing and blowing in the basin.  "Wot landlord?"
+
+"Why, the one you bashed," ses Ginger, with a wink at the other two.  "He
+'adn't got 'is senses back when me and Sam came away."
+
+Bill gave a groan and sat on the bed while 'e dried himself, and Ginger
+told 'im 'ow he 'ad bent a quart pot on the landlord's 'ead, and 'ow the
+landlord 'ad been carried upstairs and the doctor sent for.  He began to
+tremble all over, and when Ginger said he'd go out and see 'ow the land
+lay 'e could 'ardly thank 'im enough.
+
+He stayed in the bedroom all day, with the blinds down, and wouldn't eat
+anything, and when Ginger looked in about eight o'clock to find out
+whether he 'ad gone, he found 'im sitting on the bed clean shaved, and
+'is face cut about all over where the razor 'ad slipped.
+
+Ginger was gone about two hours, and when 'e came back he looked so
+solemn that old Sam asked 'im whether he 'ad seen a ghost.  Ginger didn't
+answer 'im; he set down on the side o' the bed and sat thinking.
+
+"I s'pose--I s'pose it's nice and fresh in the streets this morning?"
+ses Bill, at last, in a trembling voice.
+
+Ginger started and looked at 'im.  "I didn't notice, mate," he ses.  Then
+'e got up and patted Bill on the back, very gentle, and sat down again.
+
+[Illustration: "Patted Bill on the back, very gentle."]
+
+"Anything wrong, Ginger?"  asks Peter Russet, staring at 'im.
+
+"It's that landlord," ses Ginger; "there's straw down in the road
+outside, and they say that he's dying.  Pore old Bill don't know 'is own
+strength.  The best thing you can do, old pal, is to go as far away as
+you can, at once."
+
+"I shouldn't wait a minnit if it was me," ses old Sam.
+
+Bill groaned and hid 'is face in his 'ands, and then Peter Russet went
+and spoilt things by saying that the safest place for a murderer to 'ide
+in was London.  Bill gave a dreadful groan when 'e said murderer, but 'e
+up and agreed with Peter, and all Sam and Ginger Dick could do wouldn't
+make 'im alter his mind.  He said that he would shave off 'is beard and
+moustache, and when night came 'e would creep out and take a lodging
+somewhere right the other end of London.
+
+"It'll soon be dark," ses Ginger, "and your own brother wouldn't know you
+now, Bill.  Where d'you think of going?"
+
+Bill shook his 'ead.  "Nobody must know that, mate," he ses.  "I must go
+into hiding for as long as I can--as long as my money lasts; I've only
+got six pounds left."
+
+"That'll last a long time if you're careful," ses Ginger.
+
+"I want a lot more," ses Bill.  "I want you to take this silver ring as a
+keepsake, Ginger.  If I 'ad another six pounds or so I should feel much
+safer.  'Ow much 'ave you got, Ginger?"
+
+"Not much," ses Ginger, shaking his 'ead.
+
+"Lend it to me, mate," ses Bill, stretching out his 'and.  "You can easy
+get another ship.  Ah, I wish I was you; I'd be as 'appy as 'appy if I
+hadn't got a penny."
+
+"I'm very sorry, Bill," ses Ginger, trying to smile, "but I've already
+promised to lend it to a man wot we met this evening.  A promise is a
+promise, else I'd lend it to you with pleasure."
+
+"Would you let me be 'ung for the sake of a few pounds, Ginger?"  ses
+Bill, looking at 'im reproach-fully.  "I'm a desprit man, Ginger, and I
+must 'ave that money."
+
+Afore pore Ginger could move he suddenly clapped 'is hand over 'is mouth
+and flung 'im on the bed.  Ginger was like a child in 'is hands, although
+he struggled like a madman, and in five minutes 'e was laying there with
+a towel tied round his mouth and 'is arms and legs tied up with the cord
+off of Sam's chest.
+
+"I'm very sorry, Ginger," ses Bill, as 'e took a little over eight pounds
+out of Ginger's pocket.  "I'll pay you back one o' these days, if I can.
+If you'd got a rope round your neck same as I 'ave you'd do the same as
+I've done."
+
+He lifted up the bedclothes and put Ginger inside and tucked 'im up.
+Ginger's face was red with passion and 'is eyes starting out of his 'ead.
+
+"Eight and six is fifteen," ses Bill, and just then he 'eard somebody
+coming up the stairs.  Ginger 'eard it, too, and as Peter Russet came
+into the room 'e tried all 'e could to attract 'is attention by rolling
+'is 'ead from side to side.
+
+"Why, 'as Ginger gone to bed?" ses Peter.  "Wot's up, Ginger?"
+
+"He's all right," ses Bill; "just a bit of a 'eadache."
+
+Peter stood staring at the bed, and then 'e pulled the clothes off and
+saw pore Ginger all tied up, and making awful eyes at 'im to undo him.
+
+"I 'ad to do it, Peter," ses Bill.  "I wanted some more money to escape
+with, and 'e wouldn't lend it to me.  I 'aven't got as much as I want
+now.  You just came in in the nick of time.  Another minute and you'd ha'
+missed me.  'Ow much 'ave you got?"
+
+"Ah, I wish I could lend you some, Bill," ses Peter Russet, turning pale,
+"but I've 'ad my pocket picked; that's wot I came back for, to get some
+from Ginger."
+
+Bill didn't say a word.
+
+"You see 'ow it is, Bill," ses Peter, edging back toward the door; "three
+men laid 'old of me and took every farthing I'd got."
+
+"Well, I can't rob you, then," ses Bill, catching 'old of 'im.
+"Whoever's money this is," he ses, pulling a handful out o' Peter's
+pocket, "it can't be yours.  Now, if you make another sound I'll knock
+your 'ead off afore I tie you up."
+
+"Don't tie me up, Bill," ses Peter, struggling.
+
+"I can't trust you," ses Bill, dragging 'im over to the washstand and
+taking up the other towel; "turn round."
+
+Peter was a much easier job than Ginger Dick, and arter Bill 'ad done 'im
+'e put 'im in alongside o' Ginger and covered 'em up, arter first tying
+both the gags round with some string to prevent 'em slipping.
+
+"Mind, I've only borrowed it," he ses, standing by the side o' the bed;
+"but I must say, mates, I'm disappointed in both of you.  If either of
+you 'ad 'ad the misfortune wot I've 'ad, I'd have sold the clothes off my
+back to 'elp you.  And I wouldn't 'ave waited to be asked neither."
+
+He stood there for a minute very sorrowful, and then 'e patted both their
+'eads and went downstairs.  Ginger and Peter lay listening for a bit, and
+then they turned their pore bound-up faces to each other and tried to
+talk with their eyes.
+
+Then Ginger began to wriggle and try and twist the cords off, but 'e
+might as well 'ave tried to wriggle out of 'is skin.  The worst of it was
+they couldn't make known their intentions to each other, and when Peter
+Russet leaned over 'im and tried to work 'is gag off by rubbing it up
+agin 'is nose, Ginger pretty near went crazy with temper.  He banged
+Peter with his 'ead, and Peter banged back, and they kept it up till
+they'd both got splitting 'eadaches, and at last they gave up in despair
+and lay in the darkness waiting for Sam.
+
+And all this time Sam was sitting in the Red Lion, waiting for them.  He
+sat there quite patient till twelve o'clock and then walked slowly 'ome,
+wondering wot 'ad happened and whether Bill had gone.
+
+Ginger was the fust to 'ear 'is foot on the stairs, and as he came into
+the room, in the darkness, him an' Peter Russet started shaking their bed
+in a way that scared old Sam nearly to death.  He thought it was Bill
+carrying on agin, and 'e was out o' that door and 'arf-way downstairs
+afore he stopped to take breath.  He stood there trembling for about ten
+minutes, and then, as nothing 'appened, he walked slowly upstairs agin on
+tiptoe, and as soon as they heard the door creak Peter and Ginger made
+that bed do everything but speak.
+
+"Is that you, Bill?"  ses old Sam, in a shaky voice, and standing ready
+to dash downstairs agin.
+
+There was no answer except for the bed, and Sam didn't know whether Bill
+was dying or whether 'e 'ad got delirium trimmings.  All 'e did know was
+that 'e wasn't going to sleep in that room.  He shut the door gently and
+went downstairs agin, feeling in 'is pocket for a match, and, not finding
+one, 'e picked out the softest stair 'e could find and, leaning his 'ead
+agin the banisters, went to sleep.
+
+[Illustration: "Picked out the softest stair 'e could find."]
+
+It was about six o'clock when 'e woke up, and broad daylight.  He was
+stiff and sore all over, and feeling braver in the light 'e stepped
+softly upstairs and opened the door.  Peter and Ginger was waiting for
+'im, and as he peeped in 'e saw two things sitting up in bed with their
+'air standing up all over like mops and their faces tied up with
+bandages.  He was that startled 'e nearly screamed, and then 'e stepped
+into the room and stared at 'em as if he couldn't believe 'is eyes.
+
+"Is that you, Ginger?" he ses.  "Wot d'ye mean by making sights of
+yourselves like that?  'Ave you took leave of your senses?"
+
+Ginger and Peter shook their 'eads and rolled their eyes, and then Sam
+see wot was the matter with 'em.  Fust thing 'e did was to pull out 'is
+knife and cut Ginger's gag off, and the fust thing Ginger did was to call
+'im every name 'e could lay his tongue to.
+
+"You wait a moment," he screams, 'arf crying with rage.  "You wait till I
+get my 'ands loose and I'll pull you to pieces.  The idea o' leaving us
+like this all night, you old crocodile.  I 'eard you come in.  I'll pay
+you."
+
+Sam didn't answer 'im.  He cut off Peter Russet's gag, and Peter Russet
+called 'im 'arf a score o' names without taking breath.
+
+"And when Ginger's finished I'll 'ave a go at you," he ses.  "Cut off
+these lines."
+
+"At once, d'ye hear?"  ses Ginger.  "Oh, you wait till I get my 'ands on
+you."
+
+Sam didn't answer 'em; he shut up 'is knife with a click and then 'e sat
+at the foot o' the bed on Ginger's feet and looked at 'em.  It wasn't the
+fust time they'd been rude to 'im, but as a rule he'd 'ad to put up with
+it.  He sat and listened while Ginger swore 'imself faint.
+
+"That'll do," he ses, at last; "another word and I shall put the
+bedclothes over your 'ead.  Afore I do anything more I want to know wot
+it's all about."
+
+Peter told 'im, arter fust calling 'im some more names, because Ginger
+was past it, and when 'e'd finished old Sam said 'ow surprised he was
+at them for letting Bill do it, and told 'em how they ought to 'ave
+prevented it.  He sat there talking as though 'e enjoyed the sound of 'is
+own voice, and he told Peter and Ginger all their faults and said wot
+sorrow it caused their friends.  Twice he 'ad to throw the bedclothes
+over their 'eads because o' the noise they was making.
+
+[Illustration: "Old Sam said 'ow surprised he was at them for letting
+Bill do it."]
+
+"_Are you going--to undo--us?_"  ses Ginger, at last.
+
+"No, Ginger," ses old Sam; "in justice to myself I couldn't do it.  Arter
+wot you've said--and arter wot I've said--my life wouldn't be safe.
+Besides which, you'd want to go shares in my money."
+
+He took up 'is chest and marched downstairs with it, and about 'arf an
+hour arterward the landlady's 'usband came up and set 'em free.  As soon
+as they'd got the use of their legs back they started out to look for
+Sam, but they didn't find 'im for nearly a year, and as for Bill, they
+never set eyes on 'im again.
+
+
+
+
+
+End of the Project Gutenberg EBook of Bill's Lapse, by W.W. Jacobs
+
 *** 

data/test/31974.txt

@@ -1,264 +1,264 @@
-
-
-
-
-Produced by The Online Distributed Proofreading Team at
-http://www.pgdp.net (This file was produced from images
-generously made available by The Internet Archive/American
-Libraries.)
-
-
-
-
-
-
-
-
-
-  LAST DAYS OF THE REBELLION.
-
-  THE SECOND NEW YORK CAVALRY
-  (HARRIS' LIGHT)
-  AT APPOMATTOX STATION AND APPOMATTOX COURT
-  HOUSE, APRIL 8 and 9, 1865.
-
-
-  BY
-  ALANSON M. RANDOL
-
-  _Major First U. S. Artillery (late Colonel Second New York
-  Cavalry), Bvt. Brig-General, U. S. Vols._
-
-
-  ALCATRAZ ISLAND, CAL.,
-  1886.
-
-
-
-
-LAST DAYS OF THE REBELLION.
-
-
-During the winter of 1864-5 the Second New York (Harris' Light) Cavalry
-was in winter quarters near Winchester, Va., on the Romney pike. Alanson
-M. Randol, Captain First United States Artillery, was colonel of the
-regiment, which, with the First Connecticut, Second Ohio, and Third New
-Jersey, constituted the first brigade, third division, cavalry corps. The
-division was commanded by General George A. Custer; the brigade by A. C.
-M. Pennington, Captain Second United States Artillery, Colonel Third New
-Jersey Cavalry. On the 27th of February, 1865, the divisions of Merritt
-and Custer, with the batteries of Miller (Fourth United States Artillery)
-and Woodruff (Second United States Artillery), all under command of
-General Sheridan, left their winter quarters in and around Winchester,
-and, after a series of splendid victories, and unsurpassed marches and
-fortunes, joined the Army of the Potomac in front of Petersburg on the
-27th of March. The Second New York Cavalry shared largely in the glories
-and miseries of this great and successful raid. At Five Forks, Deep Creek,
-and Sailors Creek, it not only maintained its gallant and meritorious
-record, but added to its great renown. At the gentle and joyous passage
-of arms at Appomattox Station, on the 8th of April, it reached the climax
-of its glory, and, by its deeds of daring, touched the pinnacle of fame.
-On that day it performed prodigies of valor, and achieved successes as
-pregnant with good results as any single action of the war. By forcing a
-passage through the rebel lines and heading off Lee's army, it contributed
-largely to the result that followed the next day--the surrender of the
-Confederate Army of Northern Virginia.
-
-       *       *       *       *       *
-
-On the night of the 7th of April we camped on Buffalo River. Moving at an
-early hour on the 8th, we crossed the Lynchburg Railroad at Prospect
-Station, and headed for Appomattox Station, where it was expected we would
-strike, if not intercept, Lee's retreating, disintegrating army. The trail
-was fresh and the chase hot. Joy beamed in every eye, for all felt that
-the end was drawing near, and we earnestly hoped that ours might be the
-glorious opportunity of striking the final blow. About noon the regiment
-was detached to capture a force of the enemy said to be at one of the
-crossings of the Appomattox. Some few hundreds, unarmed, half-starved,
-stragglers, with no fight in them, were found, and turned over to the
-Provost Marshall. Resuming its place in the column, I received orders to
-report with the regiment to General Custer, who was at its head. Reporting
-in compliance with this order, General Custer informed me that his scouts
-had reported three large trains of cars at Appomattox Station, loaded with
-supplies for the rebel army; that he expected to have made a junction
-with Merritt's division near this point; that his orders were to wait here
-till Merritt joined him; that he had not heard from him since morning, and
-had sent an officer to communicate with him, but if he did not hear from
-him in half an hour, he wished me to take my regiment and capture the
-trains of cars, and, if possible, reach and hold the pike to Lynchburg.
-While talking, the whistle of the locomotive was distinctly but faintly
-heard, and the column was at once moved forward, the Second New York in
-advance. As we neared the station the whistles became more and more
-distinct, and a scout reported the trains rapidly unloading, and that the
-advance of the rebel army was passing through Appomattox Court House.
-Although Custer's orders were to make a junction with Merritt before
-coming in contact with the enemy, here was a chance to strike a decisive
-blow, which, if successful, would add to his renown and glory, and if not,
-Merritt would soon be up to help him out of the scrape. Our excitement was
-intense, but subdued. All saw the vital importance of heading off the
-enemy. Another whistle, nearer and clearer, and another scout decided the
-question. I was ordered to move rapidly to Appomattox Station, seize the
-trains there, and, if possible, get possession of the Lynchburg pike.
-General Custer rode up alongside of me and, laying his hand on my
-shoulder, said, "Go in, old fellow, don't let anything stop you; now is
-the chance for your stars. Whoop 'em up; I'll be after you." The regiment
-left the column at a slow trot, which became faster and faster until we
-caught sight of the cars, which were preparing to move away, when, with a
-cheer, we charged down on the station, capturing in an instant the three
-trains of cars, with the force guarding them. I called for engineers and
-firemen to take charge of the trains, when at least a dozen of my men
-around me offered their services. I chose the number required, and ordered
-the trains to be run to the rear, where I afterwards learned they were
-claimed as captures by General Ord's corps. The cars were loaded with
-commissary stores, a portion of which had been unloaded, on which the
-rebel advance were regaling themselves when we pounced so unexpectedly
-down on them.
-
-While the regiment was rallying after the charge, the enemy opened on it a
-fierce fire from all kinds of guns--field and siege--which, however, did
-but little damage, as the regiment was screened from the enemy's sight by
-a dense woods. I at once sent notification to General Custer and Colonel
-Pennington of my success, moved forward--my advance busily
-skirmishing--and followed with the regiment in line of battle, mounted.
-The advance was soon checked by the enemy formed behind hastily
-constructed intrenchments in a dense wood of the second growth of pine.
-Flushed with success and eager to gain the Lynchburg pike, along which
-immense wagon and siege trains were rapidly moving, the regiment was
-ordered to charge. Three times did it try to break through the enemy's
-lines, but failed. Colonel Pennington arrived on the field with the rest
-of the brigade, when, altogether, a rush was made, but it failed. Then
-Custer, with the whole division, tried it, but he, too, failed. Charge and
-charge again, was now the order, but it was done in driblets, without
-organization and in great disorder. General Custer was here, there, and
-everywhere, urging the men forward with cheers and oaths. The great prize
-was so nearly in his grasp that it seemed a pity to lose it; but the rebel
-infantry held on hard and fast, while his artillery belched out death and
-destruction on every side of us. Merritt and night were fast coming on, so
-as soon as a force, however small, was organized, it was hurled forward,
-only to recoil in confusion and loss. Confident that this mode of fighting
-would not bring us success, and fearful lest the enemy should assume the
-offensive, which, in our disorganized state, must result in disaster, I
-went to General Custer soon after dark, and said to him that if he would
-let me get my regiment together, I could break through the rebel line. He
-excitedly replied, "Never mind your regiment; take anything and everything
-you can find, horse-holders and all, and break through: we must get hold
-of the pike to-night." Acting on this order, a force was soon organized by
-me, composed chiefly of the Second New York, but in part of other
-regiments, undistinguishable in the darkness. With this I made a charge
-down a narrow lane, which led to an open field where the rebel artillery
-was posted. As the charging column debouched from the woods, six bright
-lights suddenly flashed directly before us. A toronado of canister-shot
-swept over our heads, and the next instant we were in the battery. The
-line was broken, and the enemy routed. Custer, with the whole division,
-now pressed through the gap pell-mell, in hot pursuit, halting for neither
-prisoners nor guns, until the road to Lynchburg, crowded with wagons and
-artillery, was in our possession. We then turned short to the right and
-headed for the Appomattox Court House; but just before reaching it we
-discovered the thousands of camp fires of the rebel army, and the pursuit
-was checked. The enemy had gone into camp, in fancied security that his
-route to Lynchburg was still open before him; and he little dreamed that
-our cavalry had planted itself directly across his path, until some of our
-men dashed into Appomattox Court House, where, unfortunately, Lieutenant
-Colonel Root, of the Fifteenth New York Cavalry, was instantly killed by a
-picket guard. After we had seized the road, we were joined by other
-divisions of the cavalry corps which came to our assistance, but too late
-to take part in the fight.
-
-Owing to the night attack, our regiments were so mixed up that it took
-hours to reorganize them. When this was effected, we marched near to the
-railroad station and bivouacked.
-
-That night was passed in great anxiety. We threw ourselves on the ground
-to rest, but not to sleep. We knew that the infantry was hastening to our
-assistance, but unless they joined us before sunrise, our cavalry line
-would be brushed away, and the rebels would escape after all our hard work
-to head them off from Lynchburg. About daybreak I was aroused by loud
-hurrahs, and was told that Ord's corps was coming up rapidly, and forming
-in rear of our cavalry. Soon after we were in the saddle and moving
-towards the Appomattox Court House road, where the firing was growing
-lively; but suddenly our direction was changed, and the whole cavalry
-corps rode at a gallop to the right of our line, passing between the
-position of the rebels and the rapidly forming masses of our infantry, who
-greeted us with cheers and shouts of joy as we galloped along their front.
-At several places we had to "run the gauntlet" of fire from the enemy's
-guns posted around the Court House, but this only added to the interest
-of the scene, for we felt it to be the last expiring effort of the enemy
-to put on a bold front; we knew that we had them this time, and that at
-last Lee's proud army of Northern Virginia was at our mercy. While moving
-at almost a charging gait we were suddenly brought to a halt by reports of
-a surrender. General Sheridan and his staff rode up, and left in hot haste
-for the Court House; but just after leaving us, they were fired into by a
-party of rebel cavalry, who also opened fire on us, to which we promptly
-replied, and soon put them to flight. Our lines were then formed for a
-charge on the rebel infantry; but while the bugles were sounding the
-charge, an officer with a white flag rode out from the rebel lines, and we
-halted. It was fortunate for us that we halted when we did, for had we
-charged we would have been swept into eternity, as directly in our front
-was a creek, on the other side of which was a rebel brigade, entrenched,
-with batteries in position, the guns double shotted with canister. To have
-charged this formidable array, mounted, would have resulted in almost
-total annihilation. After we had halted, we were informed that
-preliminaries were being arranged for the surrender of Lee's whole army.
-At this news, cheer after cheer rent the air for a few moments, when soon
-all became as quiet as if nothing unusual had occurred. I rode forward
-between the lines with Custer and Pennington, and met several old friends
-among the rebels, who came out to see us. Among them, I remember Lee
-(Gimlet), of Virginia, and Cowan, of North Carolina. I saw General Cadmus
-Wilcox just across the creek, walking to and fro with his eyes on the
-ground, just as was his wont when he was instructor at West Point. I
-called to him, but he paid no attention, except to glance at me in a
-hostile manner.
-
-While we were thus discussing the probable terms of the surrender, General
-Lee, in full uniform, accompanied by one of his staff, and General
-Babcock, of General Grant's staff, rode from the Court House towards our
-lines. As he passed us, we all raised our caps in salute, which he
-gracefully returned.
-
-Later in the day loud and continuous cheering was heard among the rebels,
-which was taken up and echoed by our lines until the air was rent with
-cheers, when all as suddenly subsided. The surrender was a fixed fact, and
-the rebels were overjoyed at the very liberal terms they had received. Our
-men, without arms, approached the rebel lines, and divided their rations
-with the half-starved foe, and engaged in quiet, friendly conversation.
-There was no bluster nor braggadocia,--nothing but quiet contentment that
-the rebellion was crushed, and the war ended. In fact, many of the rebels
-seemed as much pleased as we were. Now and then one would meet a surly,
-dissatisfied look; but, as a general thing, we met smiling faces and hands
-eager and ready to grasp our own, especially if they contained anything to
-eat or drink. After the surrender, I rode over to the Court House with
-Colonel Pennington and others and visited the house in which the surrender
-had taken place, in search of some memento of the occasion. We found that
-everything had been appropriated before our arrival. Mr. Wilmer McLean, in
-whose house the surrender took place, informed us that on his farm at
-Manassas the first battle of Bull Run was fought. I asked him to write his
-name in my diary, for which, much to his surprise. I gave him a dollar.
-Others did the same, and I was told that he thus received quite a golden
-harvest.
-
-While all of the regiments of the division shared largely in the glories
-of these two days, none excelled the Second New York Cavalry in its record
-of great and glorious deeds. Well might its officers and men carry their
-heads high, and feel elated with pride as they received the
-congratulations and commendations showered on them from all sides. They
-felt they had done their duty, and given the "tottering giant" a blow that
-laid him prostrate at their feet, never, it is to be hoped, to rise again.
-
-
-
-
-Transcriber's Note:
-
-The following misprints have been corrected:
-  "crowed" corrected to "crowded" (page 7)
-  "on on" corrected to "on" (page 9)
-  "unusal" corrected to "unusual" (page 9)
-
-
-
-
-
-
-End of Project Gutenberg's Last Days of the Rebellion, by Alanson M. Randol
-
+
+
+
+
+Produced by The Online Distributed Proofreading Team at
+http://www.pgdp.net (This file was produced from images
+generously made available by The Internet Archive/American
+Libraries.)
+
+
+
+
+
+
+
+
+
+  LAST DAYS OF THE REBELLION.
+
+  THE SECOND NEW YORK CAVALRY
+  (HARRIS' LIGHT)
+  AT APPOMATTOX STATION AND APPOMATTOX COURT
+  HOUSE, APRIL 8 and 9, 1865.
+
+
+  BY
+  ALANSON M. RANDOL
+
+  _Major First U. S. Artillery (late Colonel Second New York
+  Cavalry), Bvt. Brig-General, U. S. Vols._
+
+
+  ALCATRAZ ISLAND, CAL.,
+  1886.
+
+
+
+
+LAST DAYS OF THE REBELLION.
+
+
+During the winter of 1864-5 the Second New York (Harris' Light) Cavalry
+was in winter quarters near Winchester, Va., on the Romney pike. Alanson
+M. Randol, Captain First United States Artillery, was colonel of the
+regiment, which, with the First Connecticut, Second Ohio, and Third New
+Jersey, constituted the first brigade, third division, cavalry corps. The
+division was commanded by General George A. Custer; the brigade by A. C.
+M. Pennington, Captain Second United States Artillery, Colonel Third New
+Jersey Cavalry. On the 27th of February, 1865, the divisions of Merritt
+and Custer, with the batteries of Miller (Fourth United States Artillery)
+and Woodruff (Second United States Artillery), all under command of
+General Sheridan, left their winter quarters in and around Winchester,
+and, after a series of splendid victories, and unsurpassed marches and
+fortunes, joined the Army of the Potomac in front of Petersburg on the
+27th of March. The Second New York Cavalry shared largely in the glories
+and miseries of this great and successful raid. At Five Forks, Deep Creek,
+and Sailors Creek, it not only maintained its gallant and meritorious
+record, but added to its great renown. At the gentle and joyous passage
+of arms at Appomattox Station, on the 8th of April, it reached the climax
+of its glory, and, by its deeds of daring, touched the pinnacle of fame.
+On that day it performed prodigies of valor, and achieved successes as
+pregnant with good results as any single action of the war. By forcing a
+passage through the rebel lines and heading off Lee's army, it contributed
+largely to the result that followed the next day--the surrender of the
+Confederate Army of Northern Virginia.
+
+       *       *       *       *       *
+
+On the night of the 7th of April we camped on Buffalo River. Moving at an
+early hour on the 8th, we crossed the Lynchburg Railroad at Prospect
+Station, and headed for Appomattox Station, where it was expected we would
+strike, if not intercept, Lee's retreating, disintegrating army. The trail
+was fresh and the chase hot. Joy beamed in every eye, for all felt that
+the end was drawing near, and we earnestly hoped that ours might be the
+glorious opportunity of striking the final blow. About noon the regiment
+was detached to capture a force of the enemy said to be at one of the
+crossings of the Appomattox. Some few hundreds, unarmed, half-starved,
+stragglers, with no fight in them, were found, and turned over to the
+Provost Marshall. Resuming its place in the column, I received orders to
+report with the regiment to General Custer, who was at its head. Reporting
+in compliance with this order, General Custer informed me that his scouts
+had reported three large trains of cars at Appomattox Station, loaded with
+supplies for the rebel army; that he expected to have made a junction
+with Merritt's division near this point; that his orders were to wait here
+till Merritt joined him; that he had not heard from him since morning, and
+had sent an officer to communicate with him, but if he did not hear from
+him in half an hour, he wished me to take my regiment and capture the
+trains of cars, and, if possible, reach and hold the pike to Lynchburg.
+While talking, the whistle of the locomotive was distinctly but faintly
+heard, and the column was at once moved forward, the Second New York in
+advance. As we neared the station the whistles became more and more
+distinct, and a scout reported the trains rapidly unloading, and that the
+advance of the rebel army was passing through Appomattox Court House.
+Although Custer's orders were to make a junction with Merritt before
+coming in contact with the enemy, here was a chance to strike a decisive
+blow, which, if successful, would add to his renown and glory, and if not,
+Merritt would soon be up to help him out of the scrape. Our excitement was
+intense, but subdued. All saw the vital importance of heading off the
+enemy. Another whistle, nearer and clearer, and another scout decided the
+question. I was ordered to move rapidly to Appomattox Station, seize the
+trains there, and, if possible, get possession of the Lynchburg pike.
+General Custer rode up alongside of me and, laying his hand on my
+shoulder, said, "Go in, old fellow, don't let anything stop you; now is
+the chance for your stars. Whoop 'em up; I'll be after you." The regiment
+left the column at a slow trot, which became faster and faster until we
+caught sight of the cars, which were preparing to move away, when, with a
+cheer, we charged down on the station, capturing in an instant the three
+trains of cars, with the force guarding them. I called for engineers and
+firemen to take charge of the trains, when at least a dozen of my men
+around me offered their services. I chose the number required, and ordered
+the trains to be run to the rear, where I afterwards learned they were
+claimed as captures by General Ord's corps. The cars were loaded with
+commissary stores, a portion of which had been unloaded, on which the
+rebel advance were regaling themselves when we pounced so unexpectedly
+down on them.
+
+While the regiment was rallying after the charge, the enemy opened on it a
+fierce fire from all kinds of guns--field and siege--which, however, did
+but little damage, as the regiment was screened from the enemy's sight by
+a dense woods. I at once sent notification to General Custer and Colonel
+Pennington of my success, moved forward--my advance busily
+skirmishing--and followed with the regiment in line of battle, mounted.
+The advance was soon checked by the enemy formed behind hastily
+constructed intrenchments in a dense wood of the second growth of pine.
+Flushed with success and eager to gain the Lynchburg pike, along which
+immense wagon and siege trains were rapidly moving, the regiment was
+ordered to charge. Three times did it try to break through the enemy's
+lines, but failed. Colonel Pennington arrived on the field with the rest
+of the brigade, when, altogether, a rush was made, but it failed. Then
+Custer, with the whole division, tried it, but he, too, failed. Charge and
+charge again, was now the order, but it was done in driblets, without
+organization and in great disorder. General Custer was here, there, and
+everywhere, urging the men forward with cheers and oaths. The great prize
+was so nearly in his grasp that it seemed a pity to lose it; but the rebel
+infantry held on hard and fast, while his artillery belched out death and
+destruction on every side of us. Merritt and night were fast coming on, so
+as soon as a force, however small, was organized, it was hurled forward,
+only to recoil in confusion and loss. Confident that this mode of fighting
+would not bring us success, and fearful lest the enemy should assume the
+offensive, which, in our disorganized state, must result in disaster, I
+went to General Custer soon after dark, and said to him that if he would
+let me get my regiment together, I could break through the rebel line. He
+excitedly replied, "Never mind your regiment; take anything and everything
+you can find, horse-holders and all, and break through: we must get hold
+of the pike to-night." Acting on this order, a force was soon organized by
+me, composed chiefly of the Second New York, but in part of other
+regiments, undistinguishable in the darkness. With this I made a charge
+down a narrow lane, which led to an open field where the rebel artillery
+was posted. As the charging column debouched from the woods, six bright
+lights suddenly flashed directly before us. A toronado of canister-shot
+swept over our heads, and the next instant we were in the battery. The
+line was broken, and the enemy routed. Custer, with the whole division,
+now pressed through the gap pell-mell, in hot pursuit, halting for neither
+prisoners nor guns, until the road to Lynchburg, crowded with wagons and
+artillery, was in our possession. We then turned short to the right and
+headed for the Appomattox Court House; but just before reaching it we
+discovered the thousands of camp fires of the rebel army, and the pursuit
+was checked. The enemy had gone into camp, in fancied security that his
+route to Lynchburg was still open before him; and he little dreamed that
+our cavalry had planted itself directly across his path, until some of our
+men dashed into Appomattox Court House, where, unfortunately, Lieutenant
+Colonel Root, of the Fifteenth New York Cavalry, was instantly killed by a
+picket guard. After we had seized the road, we were joined by other
+divisions of the cavalry corps which came to our assistance, but too late
+to take part in the fight.
+
+Owing to the night attack, our regiments were so mixed up that it took
+hours to reorganize them. When this was effected, we marched near to the
+railroad station and bivouacked.
+
+That night was passed in great anxiety. We threw ourselves on the ground
+to rest, but not to sleep. We knew that the infantry was hastening to our
+assistance, but unless they joined us before sunrise, our cavalry line
+would be brushed away, and the rebels would escape after all our hard work
+to head them off from Lynchburg. About daybreak I was aroused by loud
+hurrahs, and was told that Ord's corps was coming up rapidly, and forming
+in rear of our cavalry. Soon after we were in the saddle and moving
+towards the Appomattox Court House road, where the firing was growing
+lively; but suddenly our direction was changed, and the whole cavalry
+corps rode at a gallop to the right of our line, passing between the
+position of the rebels and the rapidly forming masses of our infantry, who
+greeted us with cheers and shouts of joy as we galloped along their front.
+At several places we had to "run the gauntlet" of fire from the enemy's
+guns posted around the Court House, but this only added to the interest
+of the scene, for we felt it to be the last expiring effort of the enemy
+to put on a bold front; we knew that we had them this time, and that at
+last Lee's proud army of Northern Virginia was at our mercy. While moving
+at almost a charging gait we were suddenly brought to a halt by reports of
+a surrender. General Sheridan and his staff rode up, and left in hot haste
+for the Court House; but just after leaving us, they were fired into by a
+party of rebel cavalry, who also opened fire on us, to which we promptly
+replied, and soon put them to flight. Our lines were then formed for a
+charge on the rebel infantry; but while the bugles were sounding the
+charge, an officer with a white flag rode out from the rebel lines, and we
+halted. It was fortunate for us that we halted when we did, for had we
+charged we would have been swept into eternity, as directly in our front
+was a creek, on the other side of which was a rebel brigade, entrenched,
+with batteries in position, the guns double shotted with canister. To have
+charged this formidable array, mounted, would have resulted in almost
+total annihilation. After we had halted, we were informed that
+preliminaries were being arranged for the surrender of Lee's whole army.
+At this news, cheer after cheer rent the air for a few moments, when soon
+all became as quiet as if nothing unusual had occurred. I rode forward
+between the lines with Custer and Pennington, and met several old friends
+among the rebels, who came out to see us. Among them, I remember Lee
+(Gimlet), of Virginia, and Cowan, of North Carolina. I saw General Cadmus
+Wilcox just across the creek, walking to and fro with his eyes on the
+ground, just as was his wont when he was instructor at West Point. I
+called to him, but he paid no attention, except to glance at me in a
+hostile manner.
+
+While we were thus discussing the probable terms of the surrender, General
+Lee, in full uniform, accompanied by one of his staff, and General
+Babcock, of General Grant's staff, rode from the Court House towards our
+lines. As he passed us, we all raised our caps in salute, which he
+gracefully returned.
+
+Later in the day loud and continuous cheering was heard among the rebels,
+which was taken up and echoed by our lines until the air was rent with
+cheers, when all as suddenly subsided. The surrender was a fixed fact, and
+the rebels were overjoyed at the very liberal terms they had received. Our
+men, without arms, approached the rebel lines, and divided their rations
+with the half-starved foe, and engaged in quiet, friendly conversation.
+There was no bluster nor braggadocia,--nothing but quiet contentment that
+the rebellion was crushed, and the war ended. In fact, many of the rebels
+seemed as much pleased as we were. Now and then one would meet a surly,
+dissatisfied look; but, as a general thing, we met smiling faces and hands
+eager and ready to grasp our own, especially if they contained anything to
+eat or drink. After the surrender, I rode over to the Court House with
+Colonel Pennington and others and visited the house in which the surrender
+had taken place, in search of some memento of the occasion. We found that
+everything had been appropriated before our arrival. Mr. Wilmer McLean, in
+whose house the surrender took place, informed us that on his farm at
+Manassas the first battle of Bull Run was fought. I asked him to write his
+name in my diary, for which, much to his surprise. I gave him a dollar.
+Others did the same, and I was told that he thus received quite a golden
+harvest.
+
+While all of the regiments of the division shared largely in the glories
+of these two days, none excelled the Second New York Cavalry in its record
+of great and glorious deeds. Well might its officers and men carry their
+heads high, and feel elated with pride as they received the
+congratulations and commendations showered on them from all sides. They
+felt they had done their duty, and given the "tottering giant" a blow that
+laid him prostrate at their feet, never, it is to be hoped, to rise again.
+
+
+
+
+Transcriber's Note:
+
+The following misprints have been corrected:
+  "crowed" corrected to "crowded" (page 7)
+  "on on" corrected to "on" (page 9)
+  "unusal" corrected to "unusual" (page 9)
+
+
+
+
+
+
+End of Project Gutenberg's Last Days of the Rebellion, by Alanson M. Randol
+
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-
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-
-
-Produced by David E. Brown and The Online Distributed
-Proofreading Team at http://www.pgdp.net (This file was
-produced from images generously made available by the
-Library of Congress)
-
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-
-
-
-
-
-  [Illustration]
-
-
-
-
-  THE FASCINATING
-  BOSTON
-
-  How to Dance and How to Teach the
-  Popular New Social Favorite
-
-  _By_
-  ALFONSO JOSEPHS SHEAFE
-  Master of Dancing
-
-  _Translator and Editor of
-  Zorn's Grammar of the Art of Dancing_
-
-
-  Boston, Mass.
-  THE BOSTON MUSIC COMPANY
-  New York: G. Schirmer, Incorporated
-
-  Copyright, 1913, by
-  THE BOSTON MUSIC CO.
-  For all countries
-
-
-  B. M. Co. 3366
-
-
-
-
-Table of Contents
-
-
-                                 Page
-
-FOREWORD                            1
-
-THE BOSTON
-  THE FUNDAMENTAL POSITIONS         5
-  THE POSITION OF THE PARTNERS      8
-  THE STEP OF THE BOSTON           12
-  THE LONG BOSTON                  22
-  THE SHORT BOSTON                 23
-  THE OPEN BOSTON                  24
-  THE BOSTON DIP                   25
-
-THE TURKEY TROT                    27
-
-THE AEROPLANE GLIDE                28
-
-THE TANGO                          29
-
-
-
-
-THE FASCINATING BOSTON
-
-
-
-
-FOREWORD
-
-
-Since the introduction of the waltz, more than a hundred years ago, it
-has held the first place in the esteem of dancers throughout the
-civilized world. There has appeared, however, a new claimant for the
-place--one that possesses all the qualities that go to make a social
-favorite, and has the additional advantages of greater ease of
-execution, and wider possibilities of adaptation.
-
-This is the BOSTON--not, as many persons suppose, a new creation nor
-indeed is it a novelty even to the American public, for it was
-introduced here more than a generation ago; but the great popularity of
-the Two-Step, which had just then come into vogue, and was fast gaining
-favor under the influence of such brilliant compositions as the
-quick-step marches by Sousa, operated against its immediate acceptance.
-
-One of the reasons why the Boston should prove today a more attractive
-dance than any other, is the fact that now there are more captivating
-airs written for this particular form of dance than for any other, and
-as the Two-Step, in its time, found its most powerful ally in the music
-to which it was adapted, the Boston has today the persuasive
-intercession of such languorous and haunting melodies as "Love's
-Awakening" and "On the Wings of Dream," by Danglas; Sinibaldi's
-"Thrill," and others.
-
-General taste has gradually found out the superior charm of the Boston;
-the pendulum of public favor has again swung in the direction of skilful
-dancing.
-
-The recent revival of the Waltz in its proper form, has brought with it
-a larger appreciation of the more worthy and graceful social dances,
-and the entire world now recognizes the wonderful beauty of the Boston,
-and has welcomed it as a real competitor.
-
-The Boston is not a Waltz, yet it is the perfection of it. It is one of
-those paradoxical things which, while it is impossible to be classified,
-contains all that is to be found in almost any other dance. Even the
-persons who have so long and so loyally clung to other forms of dancing,
-and have abated none in their zeal for their favorites, have been
-unconsciously, and perhaps unwillingly, charmed by the seductiveness of
-the Boston, until they now freely declare the new dance to be the
-superior of the Waltz. Therefore it is safe to say that the Boston will,
-eventually, supersede the Waltz altogether.
-
-We demand a dance which combines ease of execution with attractive
-movement. That is just what the Boston does, and perhaps more. It is so
-simple in construction that, when acquired, it becomes natural, and its
-perfect adaptability assures it lasting popularity.
-
-Owing to the urgent request of many of his pupils and colleagues, the
-author has undertaken this little book in the hope that it will meet the
-requirements of both teachers and students, and help to assure the
-proper appreciation of what is in reality the most delightful and
-artistic social dance since the Minuet.
-
-
-THE FIVE FUNDAMENTAL POSITIONS
-
-In order that the reader may the more readily understand the
-descriptions given in this book, we will explain the five fundamental
-positions upon which the art of dancing rests.
-
-In the 1st position, the feet are together, heel against heel.
-
-  [Illustration]
-
-In the 2nd position, the heels are separated sidewise, and on the same
-line.
-
-  [Illustration]
-
-In the 3rd position, the heel of one foot touches the middle of the
-other.
-
-  [Illustration]
-
-In the 4th position, the feet are separated as in walking, either
-directly forward or directly backward.
-
-  [Illustration]
-
-In the 5th position, the heel of one foot touches the point of the
-other.
-
-  [Illustration]
-
-In all these positions the feet must be turned outward to form not less
-than a right angle.
-
-
-THE POSITIONS OF THE PARTNERS
-
-Much, if not all, of the adverse criticism of the Boston which has been
-offered by educators, parents and other responsible objectors, has been
-directed at the relative positions of the partners. This is, in fact, no
-more than the general rule as regards the Social Round Dance, with the
-possible exception that the positions have been sometimes distorted by
-attempts to copy the freer forms of dancing that have been presented
-upon the stage.
-
-The Round Dance demands that a certain fixed grouping of the partners be
-maintained in order that the rotation around a common moving centre may
-be accomplished, and it is here that the most serious problem is to be
-found.
-
-The dancing profession long ago undertook to settle upon arbitrary
-groupings satisfactory to the needs of the dancers, and conforming to
-all the requirements of propriety and hygienic exercise.
-
-  [Illustration]
-
-Acting upon this basis, the reputable teachers of dancing throughout the
-world have adopted and promulgated three fundamental groupings for the
-Round Dance which are so constructed as to provide the greatest ease of
-execution and freedom of action. They are known as the Waltz Position,
-the Open Position, and the Side Position of the Waltz. All round dances
-are executed in one or another of these groupings, which are not only
-accepted by all good teachers, but, with the exception of certain minor
-and unimportant variations, rigidly adhered to in all their work.
-
-In the Waltz Position the partners stand facing one another, with
-shoulders parallel, and looking over one another's right shoulder.
-Special attention must be paid to the parallel position of the
-shoulders, in order to fit the individual movements of the partners
-along the line of direction.
-
-The gentleman places his right hand lightly upon the lady's back, at a
-point about half-way across, between the waist-line and the
-shoulder-blades. The fingers are so rounded as to permit the free
-circulation of air between the palm of the hand and the lady's back, and
-should not be spread.
-
-The lady places her left hand lightly upon the gentleman's arm, allowing
-her fore-arm to rest gently upon his arm. The partners stand at an easy
-distance from one another, inclining toward the common centre very
-slightly. The free hands are lightly joined at the side. This is merely
-to provide occupation for the disengaged arms, and the gentleman holds
-the tip of the lady's hand lightly in the bended fingers of his own.
-Guiding is accomplished by the gentleman through a slight lifting of his
-right elbow.
-
-  [Illustration]
-
-
-THE OPEN POSITION
-
-The Open Position needs no explanation, and can be readily understood
-from the illustration facing page 8.
-
-
-THE SIDE POSITION OF THE WALTZ
-
-The side position of the Waltz differs from the Waltz Position only in
-the fact that the partners stand side by side and with the engaged arms
-more widely extended. The free arms are held as in the frontispiece. In
-the actual rotation this position naturally resolves itself into the
-regular Waltz Position.
-
-
-THE STEP OF THE BOSTON
-
-The preparatory step of the Boston differs materially from that of any
-other Social Dance. There is _only one position_ of the feet in the
-Boston--the 4th. That is to say, the feet are separated one from the
-other as in walking.
-
-On the first count of the measure the whole leg swings freely, and as a
-unit, from the hip, and the foot is put down practically flat upon the
-floor, where it immediately receives the entire weight of the body
-_perpendicularly_. The weight is held entirely upon this foot during the
-remainder of the measure, whether it be in 3/4 or 2/4 time.
-
-The following preparatory exercises must be practiced forward and
-backward until the movements become natural, before proceeding.
-
-In going backward, the foot must be carried to the rear as far as
-possible, and the weight must always be perpendicular to the supporting
-foot.
-
-These movements are identical with walking, and except the particular
-care which must be bestowed upon the placing of the foot on the first
-count of the measure, they require no special degree of attention.
-
-On the second count the free leg swings forward until the knee has
-become entirely straightened, and is held, suspended, during the third
-count of the measure. This should be practiced, first with the weight
-resting upon the entire sole of the supporting foot, and then, when this
-has been perfectly accomplished, the same exercise may be supplemented
-by raising the heel (of the supporting foot) on the second count and
-lowering it on the third count. _Great care must be taken not to divide
-the weight._
-
-For the purpose of instruction, it is well to practice these steps to
-Mazurka music, because of the clearness of the count.
-
-  [Illustration]
-
-When the foregoing exercises have been so fully mastered as to become,
-in a sense, muscular habits, we may, with safety, add the next feature.
-This consists in touching the floor with the point of the free foot, at
-a point as far forward or backward as can be done without dividing the
-weight, on the second count of the measure. Thus, we have accomplished,
-as it were, an interrupted, or, at least, an arrested step, and this is
-the true essence of the Boston.
-
-Too great care cannot be expended upon this phase of the step, and it
-must be practiced over and over again, both forward and backward, until
-the movement has become second nature. All this must precede any attempt
-to turn.
-
-The turning of the Boston is simplicity itself, but it is, nevertheless,
-the one point in the instruction which is most bothersome to
-learners. The turn is executed upon the ball of _the supporting foot_,
-and consists in twisting half round without lifting either foot from the
-ground. In this, the weight is held altogether upon the supporting foot,
-and there is no crossing.
-
-In carrying the foot forward for the second movement, the knees must
-pass close to one another, and care must be taken that _the entire half
-turn comes upon the last count of the measure_.
-
-To sum up:--
-
-Starting with the weight upon the left foot, step forward, placing the
-entire weight upon the right foot, as in the illustration facing page 14
-(count 1); swing left leg quickly forward, straightening the left knee
-and raising the right heel, and touch the floor with the extended left
-foot as in the illustration facing page 16, but without placing any
-weight upon that foot (count 2); execute a half-turn to the left,
-backward, upon the ball of the supporting (right) foot, at the same time
-lowering the right heel, and finish as in the illustration opposite page
-18 (count 3).      One measure.
-
-  [Illustration]
-
-Starting again, this time with the weight wholly upon the right foot,
-and with the left leg extended backward, and the point of the left foot
-lightly touching the floor, step backward, throwing the weight entirely
-upon the left foot which sinks to a position flat upon the floor, as
-shown in the illustration facing page 21, (count 4); carry the right
-foot quickly backward, and touch with the point as far back as possible
-upon the line of direction without dividing the weight, at the same time
-raising the left heel as in the illustration facing page 22, (count 5);
-and complete the rotation by executing a half-turn to the right,
-forward, upon the ball of the left foot, simultaneously lowering the
-left heel, and finishing as in the illustration facing page 24, (count
-6).
-
-
-THE REVERSE
-
-The reverse of the step should be acquired at the same time as the
-rotation to the right, and it is, therefore, of great importance to
-alternate from the right to the left rotation from the beginning of the
-turning exercise. The reverse itself, that is to say, the act of
-alternating is effected in a single measure without turning (see
-preparatory exercise, page 13) which may be taken backward by the
-gentleman and forward by the lady, whenever they have completed a whole
-turn.
-
-The mechanism of the reverse turn is exactly the same as that of the
-turn to the right, except that it is accomplished with the other foot,
-and in the opposite direction.
-
-There is no better or more efficacious exercise to perfect the Boston,
-than that which is made up of one complete turn to the right, a measure
-to reverse, and a complete turn to the left. This should be practised
-until one has entirely mastered the motion and rhythm of the dance. The
-writer has used this exercise in all his work, and finds it not only
-helpful and interesting to the pupil, but of special advantage in
-obviating the possibility of dizziness, and the consequent
-unpleasantness and loss of time.
-
-  [Illustration]
-
-After acquiring a degree of ease in the execution of these movements to
-Mazurka music, it is advisable to vary the rhythm by the introduction of
-Spanish or other clearly accented Waltz music, before using the more
-liquid compositions of Strauss or such modern song waltzes as those of
-Danglas, Sinibaldi, etc.
-
-It is one of the remarkable features of the Boston that the weight is
-always opposite the line of direction--that is to say, in going forward,
-the weight is retained upon the rear foot, and in going backward, the
-weight is always upon the front foot (direction always radiates from the
-dancer). Thus, in proceeding around the room, the weight must always be
-held back, instead of inclining slightly forward as in the other round
-dances. This seeming contradiction of forces lends to the Boston a
-unique charm which is to be found in no other dance.
-
-As the dancer becomes more familiar with the Boston, the movement
-becomes so natural that little or no thought need be paid to technique,
-in order to develop the peculiar grace of it.
-
-The fact of its being a dance altogether in one position calls for
-greater skill in the execution of the Boston, than would be the case if
-there were other changes and contrasts possible, just as it is more
-difficult to play a melody upon a violin of only one string.
-
-The Boston, in its completed form, resolves itself into a sort of
-walking movement, so natural and easy that it may be enjoyed for a
-whole evening without more fatigue than would be the result of a single
-hour of the Waltz and Two-Step.
-
-Aside from the attractiveness of the Boston as a social dance, its
-physical benefits are more positive than those of any other Round Dance
-that we have ever had. The action is so adjusted as to provide the
-maximum of muscular exercise and the minimum of physical effort. This
-tends towards the conservation of energy, and produces and maintains, at
-the same time an evenness of blood pressure and circulation. The
-movements also necessitate a constant exercise of the ankles and insteps
-which is very strengthening to those parts, and cannot fail to raise and
-support the arch of the foot.
-
-Taken from any standpoint, the Boston is one of the most worthy forms of
-the social dance ever devised, and the distortions of position which
-are now occasionally practiced must soon give way to the genuinely
-refining influence of the action.
-
-  [Illustration]
-
-Of the various forms of the Boston, there is little to be said beyond
-the description of the manner of their execution, which will be treated
-in the following pages.
-
-It is hoped that this book will help toward a more complete
-understanding of the beauties and attractions of the Boston, and further
-the proper appreciation of it.
-
-
-_All descriptions of dances given in this book relate to the lady's
-part. The gentleman's is exactly the same, but in the countermotion._
-
-
-THE LONG BOSTON
-
-The ordinary form of the Boston as described in the foregoing pages is
-commonly known as the "Long" Boston to distinguish it from other forms
-and variations. It is danced in 3/4 time, either Waltz or Mazurka, and
-at any tempo desired. As this is the fundamental form of the Boston, it
-should be thoroughly acquired before undertaking any other.
-
-  [Illustration]
-
-
-THE SHORT BOSTON
-
-The "Short" Boston differs from the "Long" Boston only in measure. It is
-danced in either 2/4 or 6/8 time, and the first movement (in 2/4 time)
-occupies the duration of a quarter-note. The second and third movements
-each occupy the duration of an eighth-note. Thus, there exists between
-the "Long" and the "Short" Boston the same difference as between the
-Waltz and the Galop. In the more rapid forms of the "Short" Boston, the
-rising and sinking upon the second and third movements naturally take
-the form of a hop or skip. The dance is more enjoyable and less
-fatiguing in moderate tempo.
-
-
-THE OPEN BOSTON
-
-The "Open" Boston contains two parts of eight measures each. The first
-part is danced in the positions shown in the illustrations facing pages
-8 and 10, and the second part consists of 8 measures of the "Long"
-Boston.
-
-In the first part, the dancers execute three Boston steps forward,
-without turning, and one Boston step turning (towards the partner) to
-face directly backward (1/2 turn).      4 measures.
-
-This is followed by three Boston steps backward (without turning) in the
-position shown in the illustration facing page 10, followed by one
-Boston step turning (toward the partner) and finishing in regular Waltz
-Position for the execution of the second part.
-
-  [Illustration]
-
-
-THE BOSTON DIP
-
-The "Dip" is a combination dance in 3/4 or 3/8 time, and contains 4
-measures of the "Long" Boston, preceded by 4 measures, as follows:
-
-Standing upon the left foot, step directly to the side, and transfer the
-weight to the right foot (count 1); swing the left leg to the right in
-front of the right, at the same time raising the right heel (count 2);
-lower the right heel (count 3); return the left foot to its original
-place where it receives the weight (count 4); swing the right leg across
-in front of the left, raising the left heel (count 5); and lower the
-left heel (count 6).      2 measures.
-
-Swing the right foot to the right, and put it down directly at the side
-of the left (count 1); hop on the right foot and swing the left across
-in front (count 2); fall back upon the right foot (count 3); put down
-the left foot, crossing in front of the right, and transfer weight to it
-(count 4); with right foot step a whole step to the right (count 5); and
-finish by bringing the left foot against the right, where it receives
-the weight (count 6).      2 measures.
-
-In executing the hop upon counts 2 and 3 of the third measure, the
-movement must be so far delayed that the falling back will exactly
-coincide with the third count of the music.
-
-  [Illustration]
-
-
-
-
-THE TURKEY TROT
-
-_Preparation:--Side Position of the Waltz._
-
-
-During the first four measures take four Boston steps without turning
-(lady forward, gentleman backward), and bending the supporting knee,
-stretch the free foot backward, (lady's left, gentleman's right) as
-shown in the illustration opposite.      4 meas.
-
-Repeat in opposite direction.      4 meas.
-
-Execute four drawing steps to the side (lady's right, gentleman's left)
-swaying the shoulders and body in the direction of the drawn foot, and
-pointing with the free foot upon the fourth, as shown in figure.
-4 meas.
-
-Repeat in opposite direction.      4 meas.
-
-Eight whole turns, Short Boston or Two-Step.      16 meas.
-
-Repeat at will.
-
-      *       *       *       *       *
-
-  A splendid specimen for this dance will be found in "The Gobbler" by
-  J. Monroe.
-
-
-
-
-THE AEROPLANE GLIDE
-
-
-The "Aeroplane Glide" is very similar to the Boston Dip. It is supposed
-to represent the start of the flight of an aeroplane, and derives its
-name from that fact.
-
-The sole difference between the "Dip" and "Aeroplane" consists in the
-six running steps which make up the first two measures. Of these running
-steps, which are executed sidewise and with alternate crossings, before
-and behind, only the fourth, at the beginning of the second measure
-requires special description. Upon this step, the supporting knee is
-noticeably bended to coincide with the accent of the music.
-
-The rest of the dance is identical with the "Dip". (See page 25.)
-
-  [Illustration]
-
-
-
-
-THE TANGO
-
-
-The Tango is a Spanish American dance which contains much of the
-peculiar charm of the other Spanish dances, and its execution depends
-largely upon the ability of the dancers so to grasp the rhythm of the
-music as to interpret it by their movements. The steps are all simple,
-and the dancers are permitted to vary or improvise the figures at will.
-
-Of these figures the two which follow are most common, and lend
-themselves most readily to verbal description.
-
-
-TANGO No. 1
-
-The partners face one another as in Waltz Position. The gentleman takes
-the lady's right hand in his left, and, stretching the arms to the full
-extent, holding them at the shoulder height, he places her right hand
-upon his left shoulder, and holds it there, as in the illustration
-opposite page 30.
-
-In starting, the gentleman throws his right shoulder slightly back and
-steps directly backward with his left foot, while the lady follows
-forward with her right. In this manner both continue two steps, crossing
-one foot over the other and then execute a half-turn in the same
-direction. This is followed by four measures of the Two-Step and the
-whole is repeated at will.      8 measures.
-
-  [Illustration]
-
-
-TANGO No. 2
-
-This variant starts from the same position as Tango No. 1. The gentleman
-takes two steps backward with the lady following forward, and then two
-steps to the side (the lady's right and the gentleman's left) and two
-steps in the opposite direction to the original position.
-8 measures.
-
-These steps to the side should be marked by the swaying of the bodies as
-the feet are drawn together on the second count of the measure, and the
-whole is followed by 8 measures of the Two-Step. Repeat all as desired.
-
-
-
-
-IDEAL MUSIC FOR THE "BOSTON"
-
-
-PIANO SOLO
-
-(_Also to be had for Full or Small Orchestra_)
-
-LOVE'S AWAKENING           _J. Danglas_        .60
-ON THE WINGS OF DREAM      _J. Danglas_        .60
-FRISSON (Thrill!)          _S. Sinibaldi_      .50
-LOVE'S TRIUMPH             _A. Daniele_        .60
-DOUCEMENT                  _G. Robert_         .60
-VIENNOISE                  _A. Duval_          .60
-
-These selected numbers have attained success, not alone for their
-attractions of melody and rich harmony, but for their rhythmical
-flexibility and perfect adaptedness to the "Boston."
-
-
-FOR THE TURKEY TROT
-
-Especially recommended
-
-THE GOBBLER                _J. Monroe_         .50
-
-
-Any of the foregoing compositions will be supplied on receipt of
-one-half the list price. Postage two cents extra for each copy.
-
-
-PUBLISHED BY
-
-THE BOSTON MUSIC COMPANY 26 & 28 WEST ST., BOSTON, MASS.
-
-
-
-
-TRANSCRIBER'S NOTES:
-
-
-  Text in italics is surrounded with underscores: _italics_.
-
-  Punctuation has been corrected without note.
-
-  Obvious typographical errors have been corrected as follows:
-    Page  8: duplicate word "the" removed
-    Page 23: duplicate word "and" removed
-
-
-
-
-
-End of Project Gutenberg's The Fascinating Boston, by Alfonso Josephs Sheafe
-
+
+
+
+
+Produced by David E. Brown and The Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images generously made available by the
+Library of Congress)
+
+
+
+
+
+
+
+
+
+  [Illustration]
+
+
+
+
+  THE FASCINATING
+  BOSTON
+
+  How to Dance and How to Teach the
+  Popular New Social Favorite
+
+  _By_
+  ALFONSO JOSEPHS SHEAFE
+  Master of Dancing
+
+  _Translator and Editor of
+  Zorn's Grammar of the Art of Dancing_
+
+
+  Boston, Mass.
+  THE BOSTON MUSIC COMPANY
+  New York: G. Schirmer, Incorporated
+
+  Copyright, 1913, by
+  THE BOSTON MUSIC CO.
+  For all countries
+
+
+  B. M. Co. 3366
+
+
+
+
+Table of Contents
+
+
+                                 Page
+
+FOREWORD                            1
+
+THE BOSTON
+  THE FUNDAMENTAL POSITIONS         5
+  THE POSITION OF THE PARTNERS      8
+  THE STEP OF THE BOSTON           12
+  THE LONG BOSTON                  22
+  THE SHORT BOSTON                 23
+  THE OPEN BOSTON                  24
+  THE BOSTON DIP                   25
+
+THE TURKEY TROT                    27
+
+THE AEROPLANE GLIDE                28
+
+THE TANGO                          29
+
+
+
+
+THE FASCINATING BOSTON
+
+
+
+
+FOREWORD
+
+
+Since the introduction of the waltz, more than a hundred years ago, it
+has held the first place in the esteem of dancers throughout the
+civilized world. There has appeared, however, a new claimant for the
+place--one that possesses all the qualities that go to make a social
+favorite, and has the additional advantages of greater ease of
+execution, and wider possibilities of adaptation.
+
+This is the BOSTON--not, as many persons suppose, a new creation nor
+indeed is it a novelty even to the American public, for it was
+introduced here more than a generation ago; but the great popularity of
+the Two-Step, which had just then come into vogue, and was fast gaining
+favor under the influence of such brilliant compositions as the
+quick-step marches by Sousa, operated against its immediate acceptance.
+
+One of the reasons why the Boston should prove today a more attractive
+dance than any other, is the fact that now there are more captivating
+airs written for this particular form of dance than for any other, and
+as the Two-Step, in its time, found its most powerful ally in the music
+to which it was adapted, the Boston has today the persuasive
+intercession of such languorous and haunting melodies as "Love's
+Awakening" and "On the Wings of Dream," by Danglas; Sinibaldi's
+"Thrill," and others.
+
+General taste has gradually found out the superior charm of the Boston;
+the pendulum of public favor has again swung in the direction of skilful
+dancing.
+
+The recent revival of the Waltz in its proper form, has brought with it
+a larger appreciation of the more worthy and graceful social dances,
+and the entire world now recognizes the wonderful beauty of the Boston,
+and has welcomed it as a real competitor.
+
+The Boston is not a Waltz, yet it is the perfection of it. It is one of
+those paradoxical things which, while it is impossible to be classified,
+contains all that is to be found in almost any other dance. Even the
+persons who have so long and so loyally clung to other forms of dancing,
+and have abated none in their zeal for their favorites, have been
+unconsciously, and perhaps unwillingly, charmed by the seductiveness of
+the Boston, until they now freely declare the new dance to be the
+superior of the Waltz. Therefore it is safe to say that the Boston will,
+eventually, supersede the Waltz altogether.
+
+We demand a dance which combines ease of execution with attractive
+movement. That is just what the Boston does, and perhaps more. It is so
+simple in construction that, when acquired, it becomes natural, and its
+perfect adaptability assures it lasting popularity.
+
+Owing to the urgent request of many of his pupils and colleagues, the
+author has undertaken this little book in the hope that it will meet the
+requirements of both teachers and students, and help to assure the
+proper appreciation of what is in reality the most delightful and
+artistic social dance since the Minuet.
+
+
+THE FIVE FUNDAMENTAL POSITIONS
+
+In order that the reader may the more readily understand the
+descriptions given in this book, we will explain the five fundamental
+positions upon which the art of dancing rests.
+
+In the 1st position, the feet are together, heel against heel.
+
+  [Illustration]
+
+In the 2nd position, the heels are separated sidewise, and on the same
+line.
+
+  [Illustration]
+
+In the 3rd position, the heel of one foot touches the middle of the
+other.
+
+  [Illustration]
+
+In the 4th position, the feet are separated as in walking, either
+directly forward or directly backward.
+
+  [Illustration]
+
+In the 5th position, the heel of one foot touches the point of the
+other.
+
+  [Illustration]
+
+In all these positions the feet must be turned outward to form not less
+than a right angle.
+
+
+THE POSITIONS OF THE PARTNERS
+
+Much, if not all, of the adverse criticism of the Boston which has been
+offered by educators, parents and other responsible objectors, has been
+directed at the relative positions of the partners. This is, in fact, no
+more than the general rule as regards the Social Round Dance, with the
+possible exception that the positions have been sometimes distorted by
+attempts to copy the freer forms of dancing that have been presented
+upon the stage.
+
+The Round Dance demands that a certain fixed grouping of the partners be
+maintained in order that the rotation around a common moving centre may
+be accomplished, and it is here that the most serious problem is to be
+found.
+
+The dancing profession long ago undertook to settle upon arbitrary
+groupings satisfactory to the needs of the dancers, and conforming to
+all the requirements of propriety and hygienic exercise.
+
+  [Illustration]
+
+Acting upon this basis, the reputable teachers of dancing throughout the
+world have adopted and promulgated three fundamental groupings for the
+Round Dance which are so constructed as to provide the greatest ease of
+execution and freedom of action. They are known as the Waltz Position,
+the Open Position, and the Side Position of the Waltz. All round dances
+are executed in one or another of these groupings, which are not only
+accepted by all good teachers, but, with the exception of certain minor
+and unimportant variations, rigidly adhered to in all their work.
+
+In the Waltz Position the partners stand facing one another, with
+shoulders parallel, and looking over one another's right shoulder.
+Special attention must be paid to the parallel position of the
+shoulders, in order to fit the individual movements of the partners
+along the line of direction.
+
+The gentleman places his right hand lightly upon the lady's back, at a
+point about half-way across, between the waist-line and the
+shoulder-blades. The fingers are so rounded as to permit the free
+circulation of air between the palm of the hand and the lady's back, and
+should not be spread.
+
+The lady places her left hand lightly upon the gentleman's arm, allowing
+her fore-arm to rest gently upon his arm. The partners stand at an easy
+distance from one another, inclining toward the common centre very
+slightly. The free hands are lightly joined at the side. This is merely
+to provide occupation for the disengaged arms, and the gentleman holds
+the tip of the lady's hand lightly in the bended fingers of his own.
+Guiding is accomplished by the gentleman through a slight lifting of his
+right elbow.
+
+  [Illustration]
+
+
+THE OPEN POSITION
+
+The Open Position needs no explanation, and can be readily understood
+from the illustration facing page 8.
+
+
+THE SIDE POSITION OF THE WALTZ
+
+The side position of the Waltz differs from the Waltz Position only in
+the fact that the partners stand side by side and with the engaged arms
+more widely extended. The free arms are held as in the frontispiece. In
+the actual rotation this position naturally resolves itself into the
+regular Waltz Position.
+
+
+THE STEP OF THE BOSTON
+
+The preparatory step of the Boston differs materially from that of any
+other Social Dance. There is _only one position_ of the feet in the
+Boston--the 4th. That is to say, the feet are separated one from the
+other as in walking.
+
+On the first count of the measure the whole leg swings freely, and as a
+unit, from the hip, and the foot is put down practically flat upon the
+floor, where it immediately receives the entire weight of the body
+_perpendicularly_. The weight is held entirely upon this foot during the
+remainder of the measure, whether it be in 3/4 or 2/4 time.
+
+The following preparatory exercises must be practiced forward and
+backward until the movements become natural, before proceeding.
+
+In going backward, the foot must be carried to the rear as far as
+possible, and the weight must always be perpendicular to the supporting
+foot.
+
+These movements are identical with walking, and except the particular
+care which must be bestowed upon the placing of the foot on the first
+count of the measure, they require no special degree of attention.
+
+On the second count the free leg swings forward until the knee has
+become entirely straightened, and is held, suspended, during the third
+count of the measure. This should be practiced, first with the weight
+resting upon the entire sole of the supporting foot, and then, when this
+has been perfectly accomplished, the same exercise may be supplemented
+by raising the heel (of the supporting foot) on the second count and
+lowering it on the third count. _Great care must be taken not to divide
+the weight._
+
+For the purpose of instruction, it is well to practice these steps to
+Mazurka music, because of the clearness of the count.
+
+  [Illustration]
+
+When the foregoing exercises have been so fully mastered as to become,
+in a sense, muscular habits, we may, with safety, add the next feature.
+This consists in touching the floor with the point of the free foot, at
+a point as far forward or backward as can be done without dividing the
+weight, on the second count of the measure. Thus, we have accomplished,
+as it were, an interrupted, or, at least, an arrested step, and this is
+the true essence of the Boston.
+
+Too great care cannot be expended upon this phase of the step, and it
+must be practiced over and over again, both forward and backward, until
+the movement has become second nature. All this must precede any attempt
+to turn.
+
+The turning of the Boston is simplicity itself, but it is, nevertheless,
+the one point in the instruction which is most bothersome to
+learners. The turn is executed upon the ball of _the supporting foot_,
+and consists in twisting half round without lifting either foot from the
+ground. In this, the weight is held altogether upon the supporting foot,
+and there is no crossing.
+
+In carrying the foot forward for the second movement, the knees must
+pass close to one another, and care must be taken that _the entire half
+turn comes upon the last count of the measure_.
+
+To sum up:--
+
+Starting with the weight upon the left foot, step forward, placing the
+entire weight upon the right foot, as in the illustration facing page 14
+(count 1); swing left leg quickly forward, straightening the left knee
+and raising the right heel, and touch the floor with the extended left
+foot as in the illustration facing page 16, but without placing any
+weight upon that foot (count 2); execute a half-turn to the left,
+backward, upon the ball of the supporting (right) foot, at the same time
+lowering the right heel, and finish as in the illustration opposite page
+18 (count 3).      One measure.
+
+  [Illustration]
+
+Starting again, this time with the weight wholly upon the right foot,
+and with the left leg extended backward, and the point of the left foot
+lightly touching the floor, step backward, throwing the weight entirely
+upon the left foot which sinks to a position flat upon the floor, as
+shown in the illustration facing page 21, (count 4); carry the right
+foot quickly backward, and touch with the point as far back as possible
+upon the line of direction without dividing the weight, at the same time
+raising the left heel as in the illustration facing page 22, (count 5);
+and complete the rotation by executing a half-turn to the right,
+forward, upon the ball of the left foot, simultaneously lowering the
+left heel, and finishing as in the illustration facing page 24, (count
+6).
+
+
+THE REVERSE
+
+The reverse of the step should be acquired at the same time as the
+rotation to the right, and it is, therefore, of great importance to
+alternate from the right to the left rotation from the beginning of the
+turning exercise. The reverse itself, that is to say, the act of
+alternating is effected in a single measure without turning (see
+preparatory exercise, page 13) which may be taken backward by the
+gentleman and forward by the lady, whenever they have completed a whole
+turn.
+
+The mechanism of the reverse turn is exactly the same as that of the
+turn to the right, except that it is accomplished with the other foot,
+and in the opposite direction.
+
+There is no better or more efficacious exercise to perfect the Boston,
+than that which is made up of one complete turn to the right, a measure
+to reverse, and a complete turn to the left. This should be practised
+until one has entirely mastered the motion and rhythm of the dance. The
+writer has used this exercise in all his work, and finds it not only
+helpful and interesting to the pupil, but of special advantage in
+obviating the possibility of dizziness, and the consequent
+unpleasantness and loss of time.
+
+  [Illustration]
+
+After acquiring a degree of ease in the execution of these movements to
+Mazurka music, it is advisable to vary the rhythm by the introduction of
+Spanish or other clearly accented Waltz music, before using the more
+liquid compositions of Strauss or such modern song waltzes as those of
+Danglas, Sinibaldi, etc.
+
+It is one of the remarkable features of the Boston that the weight is
+always opposite the line of direction--that is to say, in going forward,
+the weight is retained upon the rear foot, and in going backward, the
+weight is always upon the front foot (direction always radiates from the
+dancer). Thus, in proceeding around the room, the weight must always be
+held back, instead of inclining slightly forward as in the other round
+dances. This seeming contradiction of forces lends to the Boston a
+unique charm which is to be found in no other dance.
+
+As the dancer becomes more familiar with the Boston, the movement
+becomes so natural that little or no thought need be paid to technique,
+in order to develop the peculiar grace of it.
+
+The fact of its being a dance altogether in one position calls for
+greater skill in the execution of the Boston, than would be the case if
+there were other changes and contrasts possible, just as it is more
+difficult to play a melody upon a violin of only one string.
+
+The Boston, in its completed form, resolves itself into a sort of
+walking movement, so natural and easy that it may be enjoyed for a
+whole evening without more fatigue than would be the result of a single
+hour of the Waltz and Two-Step.
+
+Aside from the attractiveness of the Boston as a social dance, its
+physical benefits are more positive than those of any other Round Dance
+that we have ever had. The action is so adjusted as to provide the
+maximum of muscular exercise and the minimum of physical effort. This
+tends towards the conservation of energy, and produces and maintains, at
+the same time an evenness of blood pressure and circulation. The
+movements also necessitate a constant exercise of the ankles and insteps
+which is very strengthening to those parts, and cannot fail to raise and
+support the arch of the foot.
+
+Taken from any standpoint, the Boston is one of the most worthy forms of
+the social dance ever devised, and the distortions of position which
+are now occasionally practiced must soon give way to the genuinely
+refining influence of the action.
+
+  [Illustration]
+
+Of the various forms of the Boston, there is little to be said beyond
+the description of the manner of their execution, which will be treated
+in the following pages.
+
+It is hoped that this book will help toward a more complete
+understanding of the beauties and attractions of the Boston, and further
+the proper appreciation of it.
+
+
+_All descriptions of dances given in this book relate to the lady's
+part. The gentleman's is exactly the same, but in the countermotion._
+
+
+THE LONG BOSTON
+
+The ordinary form of the Boston as described in the foregoing pages is
+commonly known as the "Long" Boston to distinguish it from other forms
+and variations. It is danced in 3/4 time, either Waltz or Mazurka, and
+at any tempo desired. As this is the fundamental form of the Boston, it
+should be thoroughly acquired before undertaking any other.
+
+  [Illustration]
+
+
+THE SHORT BOSTON
+
+The "Short" Boston differs from the "Long" Boston only in measure. It is
+danced in either 2/4 or 6/8 time, and the first movement (in 2/4 time)
+occupies the duration of a quarter-note. The second and third movements
+each occupy the duration of an eighth-note. Thus, there exists between
+the "Long" and the "Short" Boston the same difference as between the
+Waltz and the Galop. In the more rapid forms of the "Short" Boston, the
+rising and sinking upon the second and third movements naturally take
+the form of a hop or skip. The dance is more enjoyable and less
+fatiguing in moderate tempo.
+
+
+THE OPEN BOSTON
+
+The "Open" Boston contains two parts of eight measures each. The first
+part is danced in the positions shown in the illustrations facing pages
+8 and 10, and the second part consists of 8 measures of the "Long"
+Boston.
+
+In the first part, the dancers execute three Boston steps forward,
+without turning, and one Boston step turning (towards the partner) to
+face directly backward (1/2 turn).      4 measures.
+
+This is followed by three Boston steps backward (without turning) in the
+position shown in the illustration facing page 10, followed by one
+Boston step turning (toward the partner) and finishing in regular Waltz
+Position for the execution of the second part.
+
+  [Illustration]
+
+
+THE BOSTON DIP
+
+The "Dip" is a combination dance in 3/4 or 3/8 time, and contains 4
+measures of the "Long" Boston, preceded by 4 measures, as follows:
+
+Standing upon the left foot, step directly to the side, and transfer the
+weight to the right foot (count 1); swing the left leg to the right in
+front of the right, at the same time raising the right heel (count 2);
+lower the right heel (count 3); return the left foot to its original
+place where it receives the weight (count 4); swing the right leg across
+in front of the left, raising the left heel (count 5); and lower the
+left heel (count 6).      2 measures.
+
+Swing the right foot to the right, and put it down directly at the side
+of the left (count 1); hop on the right foot and swing the left across
+in front (count 2); fall back upon the right foot (count 3); put down
+the left foot, crossing in front of the right, and transfer weight to it
+(count 4); with right foot step a whole step to the right (count 5); and
+finish by bringing the left foot against the right, where it receives
+the weight (count 6).      2 measures.
+
+In executing the hop upon counts 2 and 3 of the third measure, the
+movement must be so far delayed that the falling back will exactly
+coincide with the third count of the music.
+
+  [Illustration]
+
+
+
+
+THE TURKEY TROT
+
+_Preparation:--Side Position of the Waltz._
+
+
+During the first four measures take four Boston steps without turning
+(lady forward, gentleman backward), and bending the supporting knee,
+stretch the free foot backward, (lady's left, gentleman's right) as
+shown in the illustration opposite.      4 meas.
+
+Repeat in opposite direction.      4 meas.
+
+Execute four drawing steps to the side (lady's right, gentleman's left)
+swaying the shoulders and body in the direction of the drawn foot, and
+pointing with the free foot upon the fourth, as shown in figure.
+4 meas.
+
+Repeat in opposite direction.      4 meas.
+
+Eight whole turns, Short Boston or Two-Step.      16 meas.
+
+Repeat at will.
+
+      *       *       *       *       *
+
+  A splendid specimen for this dance will be found in "The Gobbler" by
+  J. Monroe.
+
+
+
+
+THE AEROPLANE GLIDE
+
+
+The "Aeroplane Glide" is very similar to the Boston Dip. It is supposed
+to represent the start of the flight of an aeroplane, and derives its
+name from that fact.
+
+The sole difference between the "Dip" and "Aeroplane" consists in the
+six running steps which make up the first two measures. Of these running
+steps, which are executed sidewise and with alternate crossings, before
+and behind, only the fourth, at the beginning of the second measure
+requires special description. Upon this step, the supporting knee is
+noticeably bended to coincide with the accent of the music.
+
+The rest of the dance is identical with the "Dip". (See page 25.)
+
+  [Illustration]
+
+
+
+
+THE TANGO
+
+
+The Tango is a Spanish American dance which contains much of the
+peculiar charm of the other Spanish dances, and its execution depends
+largely upon the ability of the dancers so to grasp the rhythm of the
+music as to interpret it by their movements. The steps are all simple,
+and the dancers are permitted to vary or improvise the figures at will.
+
+Of these figures the two which follow are most common, and lend
+themselves most readily to verbal description.
+
+
+TANGO No. 1
+
+The partners face one another as in Waltz Position. The gentleman takes
+the lady's right hand in his left, and, stretching the arms to the full
+extent, holding them at the shoulder height, he places her right hand
+upon his left shoulder, and holds it there, as in the illustration
+opposite page 30.
+
+In starting, the gentleman throws his right shoulder slightly back and
+steps directly backward with his left foot, while the lady follows
+forward with her right. In this manner both continue two steps, crossing
+one foot over the other and then execute a half-turn in the same
+direction. This is followed by four measures of the Two-Step and the
+whole is repeated at will.      8 measures.
+
+  [Illustration]
+
+
+TANGO No. 2
+
+This variant starts from the same position as Tango No. 1. The gentleman
+takes two steps backward with the lady following forward, and then two
+steps to the side (the lady's right and the gentleman's left) and two
+steps in the opposite direction to the original position.
+8 measures.
+
+These steps to the side should be marked by the swaying of the bodies as
+the feet are drawn together on the second count of the measure, and the
+whole is followed by 8 measures of the Two-Step. Repeat all as desired.
+
+
+
+
+IDEAL MUSIC FOR THE "BOSTON"
+
+
+PIANO SOLO
+
+(_Also to be had for Full or Small Orchestra_)
+
+LOVE'S AWAKENING           _J. Danglas_        .60
+ON THE WINGS OF DREAM      _J. Danglas_        .60
+FRISSON (Thrill!)          _S. Sinibaldi_      .50
+LOVE'S TRIUMPH             _A. Daniele_        .60
+DOUCEMENT                  _G. Robert_         .60
+VIENNOISE                  _A. Duval_          .60
+
+These selected numbers have attained success, not alone for their
+attractions of melody and rich harmony, but for their rhythmical
+flexibility and perfect adaptedness to the "Boston."
+
+
+FOR THE TURKEY TROT
+
+Especially recommended
+
+THE GOBBLER                _J. Monroe_         .50
+
+
+Any of the foregoing compositions will be supplied on receipt of
+one-half the list price. Postage two cents extra for each copy.
+
+
+PUBLISHED BY
+
+THE BOSTON MUSIC COMPANY 26 & 28 WEST ST., BOSTON, MASS.
+
+
+
+
+TRANSCRIBER'S NOTES:
+
+
+  Text in italics is surrounded with underscores: _italics_.
+
+  Punctuation has been corrected without note.
+
+  Obvious typographical errors have been corrected as follows:
+    Page  8: duplicate word "the" removed
+    Page 23: duplicate word "and" removed
+
+
+
+
+
+End of Project Gutenberg's The Fascinating Boston, by Alfonso Josephs Sheafe
+
 ***